J.S. Bach: Sonatas for Violin & Harpsichord, BWV 1014-1019

Featuring

Leila Schayegh
Jörg Halubek
Johann Sebastian Bach

Did you know?

1/7

Interpretation

The performers, Leila Schayegh and Jörg Halubek, have been working on these Bach sonatas for ten years, finding a balance between rigor and freedom in their interpretation.

Compositional Technique

These sonatas contain an impressive array of compositional forms, reflecting Bach's continuous experimentation and pursuit of new forms beyond existing instrumental techniques.

Composer's Artistic Vision

Bach assigned central significance to musical keys and their inextricably linked characters, as documented by the theorist Johann Mattheson, whom Bach highly esteemed.

Interpretation

The performers took the liberty of improvising a great deal, adhering closely to Bach's ornamentation style and the principles outlined by Carl Philipp Emanuel Bach in his essay on keyboard playing.

Interpretation

For this recording, the performers used a violin mute on two occasions to expand the color palette, inspired by similarities with a sonata by Bach's son, Carl Philipp Emanuel Bach.

Compositional Technique

Bach's six sonatas are conceived as trio sonatas, with the harpsichordist's left hand playing the bass, and the right hand providing a top part equal to the violin, which was a complete novelty at the time.

Composition History

Johann Sebastian Bach's Sei Suonate à Cembalo certato è Violino Solo, which broadly took their definitive form around 1725, demonstrate his desire to sum up something truly exemplary in chamber music.