Although the dating of Bach's three sonatas for viola da gamba and cembalo has presented problems for musicologists, because only an autograph score of the first sonata BWV 1027 survives, there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s. Prior to that commentators had suggested that they dated from an earlier period when Bach was in Köthen or even beforehand: the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cöthen. Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum, a chamber music society that put on weekly concerts at the Café Zimmermann.
Other versions of BWV 1027 exist: there is a trio sonata for two transverse flutes and continuo (BWV 1039); as well as a trio sonata for organ in three movements. Russell Stinson has determined that the organ work, with the first two movements transcribed from BWV 1039/i and BWV 1039/ii and the last from BWV 1027/iv, is not by Bach but most probably by Johann Peter Kellner.[1]
In the late 1980s four new editions of the sonatas appeared, including the Urtext edition of Laurence Dreyfus for C.F. Peters; in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach's period in Leipzig.[2] In a subsequent study of Bach's chamber music, Wolff (1985) came to the same conclusion and gave provisional dates for many of Bach's chamber music and concertos in his Leipzig period. No precedence had been given to BWV 1027 or BWV 1039, beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord.
The dating of BWV 1027–1028 is explained in detail by Jones (2013) in his analysis of Bach's instrumental works, including his flute sonata in E major (BWV 1035), the triple concerto in A minor for flute, violin and harpsichord (BWV 1044) and the trio sonata for flute, violin and continuo from The Musical Offering (BWV 1079).[3]
The last contrapuntal movement, although not labelled as a bourrée, makes reference to this dance form by commencing with a quaver figure on the fourth beat of the bar.[4]
Sonata No. 2 in D major, BWV 1028Edit
[Adagio]
[Allegro]
Andante
Allegro
The first movement begins with the gamba introducing a thematic fragment repeated by the harpsichord. The following movement includes echos and from the first one, especially of the latter half of the first movement. The third movement is in the rhythm of a siciliano, followed by a fast movement in 6 8 time. Parts of this sonata were used in Bach's St Matthew Passion.[5]
The musicologist Philipp Spitta has described this sonata as being "of the greatest beauty and most striking originality."[6] The sonata begins with a theme by the viola da gamba, which is soon joined by the harpsichord. This is driven forward with lively figuration. The middle movement, in B♭ major, allows the parts to intertwine even more, ending with the allegro, which begins with repeated notes in the gamba part soon to be taken up by the lower harpsichord part.
Autograph manuscriptEdit
Autograph manuscript for BWV 1027
Viola da gamba part
Harpsichord part
Published editionsEdit
Bach, J. S. (1985), Laurence Dreyfus (ed.), Drei Sonaten für Viola da Gamba und Cembalo, BWV 1027–1029, Leipzig: C. F. Peters (with extensive concluding remarks and critical notes)
Berger, Melvin (2011). Guide to Sonatas: Music for One or Two Instruments. Knopf Doubleday Publishing Group. ISBN9780307754882.
Cyr, Mary (1989), "Review: Three Sonatas for Viola da Gamba and Harpsichord (BWV 1027–1029) by J. S. Bach, Hans Eppstein, Lucy Robinson, Laurence Dreyfus and Jean-Louis Charbonnier", Early Music, 17: 106, 108, 110, 113, doi:10.1093/earlyj/XVII.1.106, JSTOR 3127270
Jenne, Natalie; Little, Meredith (2001). Dance and the Music of J.S. Bach. Indiana University Press. ISBN9780253214645.
sonatas, viola, gamba, harpsichord, bach, sonatas, viola, gamba, harpsichord, 1027, 1029, three, sonatas, composed, johann, sebastian, bach, viola, gamba, harpsichord, they, probably, date, from, late, 1730s, early, 1740s, sonatas, viola, gamba, harpsichordbwv. The sonatas for viola da gamba and harpsichord BWV 1027 1029 are three sonatas composed by Johann Sebastian Bach for viola da gamba and harpsichord They probably date from the late 1730s and early 1740s Sonatas for viola da gamba and harpsichordBWV 102710281029by J S BachThe music lesson with virginal and viola da gamba Jan Vermeer Contents 1 Origins 2 Musical structure 2 1 Sonata No 1 in G major BWV 1027 2 2 Sonata No 2 in D major BWV 1028 2 3 Sonata No 3 in G minor BWV 1029 3 Autograph manuscript 4 Published editions 5 References 6 Sources 7 External linksOrigins EditAlthough the dating of Bach s three sonatas for viola da gamba and cembalo has presented problems for musicologists because only an autograph score of the first sonata BWV 1027 survives there is now general consensus that the works were written in Leipzig at some time in the late 1730s and early 1740s Prior to that commentators had suggested that they dated from an earlier period when Bach was in Kothen or even beforehand the viola da gamba player Christian Ferdinand Abel was one of the court musicians of Prince Leopold at Cothen Bach moved to Leipzig as Thomaskantor in 1723 and in 1729 was appointed director of the Collegium Musicum a chamber music society that put on weekly concerts at the Cafe Zimmermann Other versions of BWV 1027 exist there is a trio sonata for two transverse flutes and continuo BWV 1039 as well as a trio sonata for organ in three movements Russell Stinson has determined that the organ work with the first two movements transcribed from BWV 1039 i and BWV 1039 ii and the last from BWV 1027 iv is not by Bach but most probably by Johann Peter Kellner 1 In the late 1980s four new editions of the sonatas appeared including the Urtext edition of Laurence Dreyfus for C F Peters in a long accompanying text Dreyfus presented detailed arguments for the works to be dated to Bach s period in Leipzig 2 In a subsequent study of Bach s chamber music Wolff 1985 came to the same conclusion and gave provisional dates for many of Bach s chamber music and concertos in his Leipzig period No precedence had been given to BWV 1027 or BWV 1039 beyond the fact that long notes are easier to sustain on a transverse flute than a harpsichord The dating of BWV 1027 1028 is explained in detail by Jones 2013 in his analysis of Bach s instrumental works including his flute sonata in E major BWV 1035 the triple concerto in A minor for flute violin and harpsichord BWV 1044 and the trio sonata for flute violin and continuo from The Musical Offering BWV 1079 3 Musical structure Edit nbsp Viola da Gamba Sonata in G major BWV 1027 1 Adagio source source 2 Allegro ma non tanto source source 3 Andante source source 4 Allegro moderato source source Performed by John Michel cello with pianist Problems playing these files See media help Sonata No 1 in G major BWV 1027 Edit Adagio Allegro ma non tanto Andante Allegro moderatoThe last contrapuntal movement although not labelled as a bourree makes reference to this dance form by commencing with a quaver figure on the fourth beat of the bar 4 Sonata No 2 in D major BWV 1028 Edit Adagio Allegro Andante AllegroThe first movement begins with the gamba introducing a thematic fragment repeated by the harpsichord The following movement includes echos and from the first one especially of the latter half of the first movement The third movement is in the rhythm of a siciliano followed by a fast movement in 68 time Parts of this sonata were used in Bach s St Matthew Passion 5 Sonata No 3 in G minor BWV 1029 Edit nbsp Viola da Gamba Sonata in G minor BWV 1029 1 Vivace source source 2 Adagio source source 3 Allegro source source Performed by John Michel cello with pianist Problems playing these files See media help Vivace Adagio AllegroThe musicologist Philipp Spitta has described this sonata as being of the greatest beauty and most striking originality 6 The sonata begins with a theme by the viola da gamba which is soon joined by the harpsichord This is driven forward with lively figuration The middle movement in B major allows the parts to intertwine even more ending with the allegro which begins with repeated notes in the gamba part soon to be taken up by the lower harpsichord part Autograph manuscript EditAutograph manuscript for BWV 1027 nbsp Viola da gamba part nbsp Harpsichord partPublished editions EditBach J S 1985 Laurence Dreyfus ed Drei Sonaten fur Viola da Gamba und Cembalo BWV 1027 1029 Leipzig C F Peters with extensive concluding remarks and critical notes References Edit Williams 2003 pp 537 538 Cyr 1989 Jones 2013 pp 363 373 Jenne amp Little 2001 p 209 Kenyon 2011 p 379 Berger 2011 p 8 Sources EditBerger Melvin 2011 Guide to Sonatas Music for One or Two Instruments Knopf Doubleday Publishing Group ISBN 9780307754882 Cyr Mary 1989 Review Three Sonatas for Viola da Gamba and Harpsichord BWV 1027 1029 by J S Bach Hans Eppstein Lucy Robinson Laurence Dreyfus and Jean Louis Charbonnier Early Music 17 106 108 110 113 doi 10 1093 earlyj XVII 1 106 JSTOR 3127270 Jenne Natalie Little Meredith 2001 Dance and the Music of J S Bach Indiana University Press ISBN 9780253214645 Jones Richard D P 2013 The Creative Development of Johann Sebastian Bach Volume II 1717 1750 Music to Delight the Spirit Oxford University Press ISBN 978 0191503849 Kenyon Nicholas 2011 The Faber Pocket Guide to Bach Faber amp Faber ISBN 9780571272006 Williams Peter 2003 The Organ Music of J S Bach Cambridge University Press Wolff Christoph May 1985 Bach s Leipzing Chamber Music Early Music 13 2 165 175 doi 10 1093 earlyj 13 2 165 External links EditSonatas for Viola da Gamba and Harpsichord BWV 1027 1029 Scores at the International Music Score Library Project Paolo Pandolfo amp Markus Hunninger Bach Sonatas for Viola da Gamba and Harpsichord Playlist Portal nbsp Classical music Retrieved from https en wikipedia org w index php title Sonatas for viola da gamba and harpsichord Bach amp oldid 1176716332 Sonata No 2 in D Major BWV 1028, wikipedia, wiki, book, books, library,
