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J.S. BACH SONATAS BWV 1027|1028|1029 - CANUTI, BAGARIA
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J.S. BACH SONATAS BWV 1027-1028-1029 ( CVLD222 )
Author : JS BACH
Performer : S. CANUTI, E. BAGARIA
Notes
Classical. Original composers by Johann Sebastian Bach.
Stefano Canuti bass, Enrique Bagaria piano.
24bit/88.2kHz recording made at Sala Luis Galve, Auditorium in Zaragoza, September 2011.
The choice of the instrumentation with which to perform the so-called “ancient” repertoire is always a delicate issue to address. Is it permissible to interpret this repertoire with instruments for which it was not directly conceived? A direct and legitimate answer to this dilemma is provided by the listening to this recording; and another, as valid as it is complementary, is put on the table by the history of music itself.
The second statement could be supported by a number of examples, from which it can be deduced that the instrumental repertoire was modified both by the will of the performers, who created their own manuscript versions, and of the composers themselves, who legitimized the changes in their editions. in print and left the scores “open”, so that the will of the performers would not be hindered in any way and they could improvise.
Without going too far, we could point out that, in the same period in which the three sonatas which are the subject of this recording were composed, Johann Sebastian Bach adapted for viola da gamba and harpsichord some trio sonatas originally conceived for two flutes or two violins and bass. continuous. One could also highlight, in this regard, the particular case of the work BWV 1027ª, a transcription for organ of the last movement of the first sonata of this disc; or extreme examples, such as the usual arrangements of works by other authors, less frequent in Bach, but certainly significant, such as BVW 93 and 94, deriving from the instrumental catalogue of Antonio Vivaldi (respectively Rv 522 and 208).
The three sonatas BWV 1027, 1028 and 1029 were conceived by Johann Sebastian Bach for a well-defined ensemble: viola da gamba and harpsichord, certainly before 1741, as also appears from his catalogue, although in general, both for the style and for their particular instrumentation, have been more concretely attributed to the period in which the Thuringian composer worked at the court of Cöthen, when he was just over thirty years old.
In this CD Stefano Canuti, bassoon and Enrique Bagaria, piano (two authentic virtuosos of the international concert scene) offer a fascinating and absolutely new reading of the 3 immortal masterpieces by Johann Sebastian Bach.

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