Batería IV

Buxtehude’s Opus 1 and 2 Sonatas for violin, viola da gamba and harpsichord belie the composer’s common image as austere and sober.

After mastering the Sonatas and Partitas, Mario Brunello continues his trilogy devoted to reinterpreting Bach’s violin masterpieces on the violoncello piccolo.

Alessandro Scarlatti’s Sonate a quattro were published in 1725, the year of his death. With their specific marking ‘senza cembalo’ (without harpsichord), these compositions for two violins, viola and cello appear to be, in a sense, the first string quartets in the modern sense of the term.

Bach’s Sei Sonate a Cembalo certato e Violino solo seem to stand in isolation. In fact, however, they took up numerous suggestions from contemporaries and acted as models for Bach’s sons and pupils. Johannes Pramsohler and Philippe Grisvard expand this ground-breaking cycle with works from Bach's circle. The result is three profound and virtuosic recitals that offer for the first time an overview of the impact of Bach’s revolutionary sonata model on his immediate successors.

Bach’s Sei Sonate a Cembalo certato e Violino solo seem to stand in isolation. In fact, however, they took up numerous suggestions from contemporaries and acted as models for Bach’s sons and pupils. Johannes Pramsohler and Philippe Grisvard expand this ground-breaking cycle with works from Bach's circle. The result is three profound and virtuosic recitals that offer for the first time an overview of the impact of Bach’s revolutionary sonata model on his immediate successors.

It is a sad irony of history that Tomaso Albinoni is universally known for a piece he never wrote. The average music lover, prompted by the word “Albinoni”, will normally answer: “Adagio!”. But the exceedingly famous Adagio, played at weddings and funerals, and heard in countless soundtracks, is in fact a fake realized by Italian musicologist Remo Giazotto in the twentieth century. Still, the fake Adagio has the undeniable merit of having attracted global attention on the figure of this Venetian baroque composer, who fully deserves to be numbered among the greatest musicians of his era. And this claim is not unsupported: we may in fact assume that a composer whose works were adopted as models by Johann Sebastian Bach had something to say. Bach in fact employed themes excerpted from Albinoni’s Opera I and built some of his finest Fugues on them; moreover, he also proposed Albinoni’s music to his students as a compositional model. In fact, we have Bach’s handwritten corrections on a pupil’s realization of the continuo part of an Albinoni Sonata.