Johann Georg Schreiber, 1720: Engraving of Katherinenstrasse in Leipzig. Throughout his life Bach returned to the sonatas to refine and perfect the score, particularly in the last sonata, which survives in three different versions. Although all the sonatas are written in trio sonata form, each has its own distinct character-the third is an example of the Sonate auf Concertenart, a sonata written in the style of a concerto.
Although this compositional style became widespread in the late eighteenth century, in Bach's day it was unusual and innovative.
The first known source from 1725, in the handwriting of Bach's nephew Johann Heinrich Bach, explicitly specifies an obbligato harpsichord and, despite the fact that a later version in the hand of Bach's pupil Johann Friedrich Agricola has a marginal "Violin I" at the start of BWV 1014, the scoring of the upper part in the keyboard, especially in the adagio movements BWV 1016/i, BWV 1017/iii and BWV 1018/iii, uses figures that are idiomatic to a keyboard instrument but unsuited to other instruments. Īlthough it had been believed for some time-and advanced as a theory by Eppstein (1966)-that the sonatas BWV 1014–1019 must have originated in lost trio sonatas for two instruments and continuo, no prior versions have been discovered and it is accepted that only a few movements could have such an origin. This is well illustrated by the first movement of the organ sonata BWV 528 which originated as the sinfonia starting the second part of the cantata, BWV 76, with oboe d'amore and viola da gamba as solo instruments and likewise by the trio sonata for two flutes and continuo BWV 1039 and its alternative version for viola da gamba and obbligato harpsichord, BWV 1027. In each case the trio sonata texture derives from the compositional form and not the particular combination of instruments, which was partly a function of the musicians at Bach's disposal. Apart from the BWV 1014–1019, there are the six organ sonatas, BWV 525–530, the three sonatas for viola da gamba and harpsichord, BWV 1027–1029, and the three sonatas for flute and harpsichord, BWV 1030, BWV 1031 and BWV 1032. In the totality of Bach's musical output, the instrumental sonatas written in trio sonata form are small in number. Instead of playing the role of a continuo instrument, filling in the harmonies of a figured bass, the harpsichord took one of the upper melodic lines on equal terms with the violin, whilst also providing the bass line (which could be reinforced if desired by the addition of a viola da gamba). three independent parts consisting of two equally matched upper voices above a bass line. Composte da Giov: Sebast: Bachīach's sonatas for violin and obbligato harpsichord were composed in trio sonata form, i.e. It reads Sounate â Cembalo certato è Violino Solo, col Basso per Viola da Gamba accompagnato se piace. High quality 256 kbps, 44.Title page from 1725 manuscript of BWV 1014–1019.206.5 MB zipped file, expands to 210.3 MB.Written in the harpsichord-laden "Victoriandustrial" style of Opheliac but with a relentless, metal edge, Laced / Unlaced shows the evolution from child-prodigy classical violinist to reigning queen of the "shredolin," and beckons us ever deeper into EA's alternate reality with a flick of her black-nail-polished fingertips. Laced also contains several of EA's never-before-released live classical recordings, showing Emilie's world-class virtuosity long before her launch into the world of rock.ĭisc 2, Unlaced , represents EA's future, in a metal-shredding, Yngwie-meets-Paganini-styled romp performed on her famously striped and bloodied electric violin. Shortly after introducing the world to her voice with her debut album Opheliac in 2007, Emilie Autumn emerged from her Asylum yet again with the Laced/Unlaced Double Disc Album, featuring her violin skills alone.ĭisc 1, Laced , represents her past, containing the worldwide release of EA's rare teenage classical violin recordings including works by Corelli, Bach, Leclair, and EA's own original compositions, all performed on period Baroque violin, and accompanied by lute, harpsichord, and cello in the style true to the practices of the 17th and 18th centuries.
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