Alberto Bassi Deisgn Contemporaneo

In this program, Tutti Bassi explores the rich and varied repertoire for baroque cello by sampling works from across 18th century Europe. With them, we will visit the forests of Germany, the elegant palaces of France, sunny Italy, and foggy London Town, to hear the fascinating differences and similarities of these works, and to appreciate the variety within them. Colleen McGary-Smith & Sarah Freiberg, cellos. Tutti Bassi formed in 2012. Their inaugural concert, presented at the Belmont Public Library, was made possible by the Belmont Cultural Council. Since then, they have performed throughout New England, at library concert series, retirement communities and churches-perfect venues for their intimate, informative performances.

This recording features a work with a strange coincidence in its compositional process and an astonishing dual authorship. Remarkably, Silvius Leopold Weiss’s Lute Suite SW47 (which he named Suonata) also comes with a violin part that can be played over the top of it, composed by none other than Johann Sebastian Bach. A recent comparison of sources revealed that the harpsichord part in Bach’s Suite for Violin & Harpsichord BWV1025, long considered to be of doubtful attribution, perfectly matches Weiss’s suite. The violin part, meanwhile, was indeed composed entirely by Bach and is an additional melody independent of Weiss’s musical material. It feels almost like a ‘free improvisation’ above the suite and recalls a similar process carried out by Charles Gounod in 1859: his Ave Maria fits over the first Prelude from Bach’s Well-Tempered Clavier BWV846. The sole exception is the Fantasia movement in Bach’s piece, which is not derived from Weiss’s suite, meaning both the violin and harpsichord parts in it are unique to Bach.