Dag Jensen & Knut Johannessen - J.S. Bach: Sonaten BWV 1027-29 (2013) [Hi-Res]
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BAND/ARTIST: Dag Jensen, Knut Johannessen
- Title: J.S. Bach: Sonaten BWV 1027-29
- Year Of Release: 2013
- Label: Animato
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 00:41:41
- Total Size: 220 / 802 mb
- WebSite: Album Preview
Tracklist
01. Sonata in G-Dur, BWV 1027: I. Adagio
02. Sonata in G-Dur, BWV 1027: II. Allegro ma non tanto
03. Sonata in G-Dur, BWV 1027: III. Andante
04. Sonata in G-Dur, BWV 1027: IV. Allegro moderato
05. Sonata in D-Dur, BWV 1028: I. Adagio
06. Sonata in D-Dur, BWV 1028: II. Allegro
07. Sonata in D-Dur, BWV 1028: III. Andante
08. Sonata in D-Dur, BWV 1028: IV. Allegro
09. Sonata in G-Moll, BWV 1029: I. Vivace
10. Sonata in G-Moll, BWV 1029: II. Adagio
11. Sonata in G-Moll, BWV 1029: III. Allegro
The bassoonist Dag Jensen and his accompanist ion the harpsichord, Knut Johannessen, present an absolute novelty with their album J.S. BACH SONATEN BWV 1027-29. What appears like a daring experiment is not simply made up out of thin air.
It seems unlikely that the three sonatas BWV 1027-1029 were originally written for viola da gamba. It is more probable that Bach arranged them for the instrument later on. Like some of his contemporaries, Bach adapted several of his trio sonatas with basso continuo for a solo instrument and obbligato harpsichord, in which the harpsichord is provided with an upper voice in the right hand and becomes an equal partner to the solo instrument.
Due to the similarity in range of the modern bassoon and the viola da gamba, the notion of transcribing these sonatas for bassoon was an obvious one. For the most part, the sonatas consist of three voices: a high voice in the right hand of the harpsichord in dialogue with the viola da gamba, and a lower voice in the left hand of the harpsichord; this contrapuntal texture results in a viola da gamba part that contains only a very few double stops. This makes transcription for bassoon logical, as almost no harmonies are lost in the process.
01. Sonata in G-Dur, BWV 1027: I. Adagio
02. Sonata in G-Dur, BWV 1027: II. Allegro ma non tanto
03. Sonata in G-Dur, BWV 1027: III. Andante
04. Sonata in G-Dur, BWV 1027: IV. Allegro moderato
05. Sonata in D-Dur, BWV 1028: I. Adagio
06. Sonata in D-Dur, BWV 1028: II. Allegro
07. Sonata in D-Dur, BWV 1028: III. Andante
08. Sonata in D-Dur, BWV 1028: IV. Allegro
09. Sonata in G-Moll, BWV 1029: I. Vivace
10. Sonata in G-Moll, BWV 1029: II. Adagio
11. Sonata in G-Moll, BWV 1029: III. Allegro
The bassoonist Dag Jensen and his accompanist ion the harpsichord, Knut Johannessen, present an absolute novelty with their album J.S. BACH SONATEN BWV 1027-29. What appears like a daring experiment is not simply made up out of thin air.
It seems unlikely that the three sonatas BWV 1027-1029 were originally written for viola da gamba. It is more probable that Bach arranged them for the instrument later on. Like some of his contemporaries, Bach adapted several of his trio sonatas with basso continuo for a solo instrument and obbligato harpsichord, in which the harpsichord is provided with an upper voice in the right hand and becomes an equal partner to the solo instrument.
Due to the similarity in range of the modern bassoon and the viola da gamba, the notion of transcribing these sonatas for bassoon was an obvious one. For the most part, the sonatas consist of three voices: a high voice in the right hand of the harpsichord in dialogue with the viola da gamba, and a lower voice in the left hand of the harpsichord; this contrapuntal texture results in a viola da gamba part that contains only a very few double stops. This makes transcription for bassoon logical, as almost no harmonies are lost in the process.
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