@@Renshen1957 Not sure about this. From what I can read, the original sources of this work are lost. Often the scores just say „b. c.“, which is not necessarily associated to harpsichord (even though people might have thought that in earlier decades).
@@Lampenmensch Laurence Dreyfus and Christoph Wolff assign the date to the 1730's for the Zimmermann Cafe concerts by the Collegium Musicum, that's not to say other musicians didn't perform there. I do not have access to either of the experts papers for their reasoning (handwriting analysis, water marks, etc.?) Documents relating to Cafe Zimmermann besides his establisment had one harpsichord, later a second, larger harpsichord (so just one or two being present?) Other documents reference a bass, and a Cello provided by the establishment so musicians would who played would not have to lug around such a bulky instruments. The concerts ended with Zimmermann's death in 1741. If based on copyist's handwriting, watermarks, one could as easily argue this was copied from an earlier manuscript. And then there's the fact that J S Bach recycled earlier works during his Leipzig tenure from earlier positions. The surviving manuscript (manuscript, but not in J S Bach's hand) available in the Petrucci Library IMSLP originally thought to date from the 1720's list Cembalo (Italian for Harpsichord) for the Basso Continuou part and no reference to Cello, Gamba, etc. The Sonata for Viola da Gamba and Harpsichord, BWV 1027 is the same work and played on the Harpsichord with the second solo part in the right hand and the bass line in the left. In 1720's J S Bach at the Court of Orchestra of Prince Leopold of Anhalt-Köthen, had Two Violinists, an Oboist (possibly doubled on the Transverse Flute), two Flute Players (most likely Recorder Players doubled on the Oboe), a Bassonist, a Cellist, a Gambist (whose son, also a Gambist hooked up with J C Bach for Concerts in London as the English resident "John Bach") and (some sources list a second Gamba player, the Prince Leopold, who also played the violin and harpsichord), possibly other servants, and J S Bach who played harpsichord, but lead the orchestra on the Viola (CPE Bach source), or the Violin, which begs the question who played the Viola part in the 5th Brandenburg Concerto in it's ealiest incarnation?
I love this recording/interpretation. Ignoring some of the absurd or downright insulting, condescending, ignorant comments on this platform. Thank you NBS!
Listening to this jewel makes me wonder why no one commissioned a double flute concerto to Mr. Bach. This recording is AMAZING! Thanks to all involved!
well Brandenburg 4 is technically one but I know what you mean. a concerto for two transverse flutes and strings by the great master would be wonderful for sure.
I didn't know there was a version for two flutes. I thought they were doing the baroque thing whereby they would play with whatever instruments were available unless specified as obligato. Wonderful version, too. The high pitch of the flutes really highlights some of the melodic nuances.
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Esta sonata fue la primerísima obra de cámara que escuche de Bach en toda mi vida hace algunas décadas, en una hermosa interpretación a cargo de Harnoncourt/Tachezi/Bruggen/Statsny, este video me la ha recordado. Una obra maravillosa.
Wunderschöne Aufführung dieser kompakten doch perfekt komponierten Triosonate in verschiedenen Tempi mit milden Tönen zweier Barockflöten, tiefem Ton der Gambe und schimmerndem Klang des Theorbos. Der dritte Satz klingt besonders schön und echt tröstend. Im Kontrast klingt der letzte Satz echt lebhaft und auch begeisternd. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den vier Virtuosen ist wahrlich ergreifend. Faszinierend vom Anfang bis zum Ende!
Beautiful rendition: especially remarkable the third movement, with the background texture of viola da gamba and lute while the two flutes fill the space with their sensual waves. I am always surprised by how Bach's music can reveal itself in any novel, intelligent interpretation.
Great music, amazing performance. A perfect recording is to be commended. Has anyone seen the microphones? Yes, invisible microphones, but excellent stereo sound.
Enjoyed the performance very much. Surprised me when I heard the opening bars. I've been listening to Bach's organ trio sonatas but played with different instrumentation and I first thought it was one of those. I am familiar with Gould and Rose's version of this. Usually, opening movements are "dramatic" to grab your attention but the opening adagio is so briliantly written, it is able to do the same.
I think I speak for many when I say I would love to see NBS recordings on Spotify! There are some older ones already, but it would be great to have the more recent stuff on there. Especially the major compositions like the B minor Mass and the Passions. The version of the St. John Passion on this RU-vid channel specifically is the best I've heard.
He has no written part but plays from the bass with the added figures. See also this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aCSFa36uhiY.html
As a longtime flutist myself, I’ve never felt that bobbing and weaving did anything to enhance my tone or assist me through faster passages or make me look more impressive as a musician. And it didn’t seem to help anyone here, either.
No offense intended, but I miss the signature music which used to begin NBS videos. It helped me set the volume levels. The new "hip" intro sound - a beer can being cracked open? - might as well be a muffled sneeze for all it has to do with setting the mood for your wonderful performances. 🤔
Many NBS followers complained about the "fanfare" signature, especially before delicate pieces like this ... I don't know why you think this little 'hiss' should be hip, but it has the advantage of lacking pitch, I think. In that way it doesn't disturb what is coming afterwards.
