Program : Johann-Sebastian Bach, Trios for keyboard and vioion BWV1014-1019 and BWV 1028, sonata for violin and b.c. BWV 1021 et 1023, Fantasia pro Organo BWV 562, Ich ruf'zu dir, Herr Jesu Christ BWV 639, In dir ist Freude BWV 615, Allein Gott in der Höh sei Ehr BWV662, Christum wir sollen loben schon BWV 611, Christ lag in Todesbanden BWV 625, Praeludium XXIV BWV 869
JS BachTrio for keyboard and violin BWV 1017 - Largo
JS BachTrio for keyboard and violin BWV 1015 - Andante un poco
JS BachTrio for keyboard and violin BWV 1014 - Allegro
Press round-up:
"So here is a partnership of instruments that grew on me musically over the entire programme. As one who is primarily an organist, I found the choice of instruments fascinating and the playing impeccable, as you would expect. It opens a whole alternative sound-world which I hope our violinists will be keen to explore, even if the right organs will be hard to find." David Stancliffe - Early Music Review
"Sei strumenti diversi: tre violini e tre organi dalle caratteristiche ben identificabili anche per il melomane che non sia veramente uno specialista, per una registrazione particolarmente riuscita e che (...) mette ben in evidenza il dialogo degli strumenti nelle complesse architetture bachiane." Ferruccio Nuzzo -Grey Panthers
Overview :
Johann Sebastian Bach (1685-1750) composed the six sonatas for keyboard and violin while he was in the service of Prince Leopold of Koethen (1717-1723), a period during which he focussed on composing secular instrumental music.
These works were not written as sonatas for a melodic instrument and a basso continuo part performed on the keyboard, as was usually the case at that time - on the contrary, Bach composed these six sonatas as works for three voices, so they are true trio sonatas. One voice is allocated to the violin and two to the two hands on the keyboard, thus giving greater contrapuntal depth to the way that they are composed.
This fresh take on these sonatas for keyboard and violin comes with an invitation to embark upon an organ-driven journey. The six sonatas have been broken down into three duos, each of which has been recorded using a different organ and violin combination, whilst at the same time remaining stylistically consistent with the types of instrument with which was Bach was familiar and which he himself played. The three organs are all in the East German style and the violin-makers who inspired the instruments used for the recordings were contemporaries of Bach.
The programme also offers a seventh sonata for keyboard and violin (BWV 1028) which is far better known in its version for the viola de gamba. It also includes two less well-known violin and basso continuo sonatas by Bach, inspired by the Italian style, which allows the listener to get a better grasp of the difference between the two compositional models. Freddy Eichelberger has also chosen to introduce the works for keyboard and violin with solo organ pieces which act rather like preludes, thus highlighting the sonority of each of the instruments.
Each of the three CDs in this boxed set, which celebrates a thirty-year musical bond between Odile Edouard and Freddy Eichelberger, uses a different organ and violin pairing, so three sites were selected, mainly because they had the right kinds of organ for the project and were easily accessible. These were the church of Saint-Louis de Saint Étienne (Haute-Loire), the Temple de Boudry (Switzerland) and the Temple du Foyer de l’Âme (Paris).
