JS Bach's Three Cello Sonatas, BWV 1027-1028-1029

[Lance]

Some time ago on CMG I was praising the work of German pianist named Martin Stadtfeld, born in 1980. I have now acquired a number of his recordings made for the German branch of Sony classical and continue to praise his work. You can check out his credentials on Wikipedia. Among his earliest recordings, made in 2009, includes the three gamba/cello sonatas of JS Bach, BWV 1027, 1028, 1029 all performed with cellist Jan Vogler born in 1964. Included are excerpts from other Bach works, nine of them, transcribed for cello and piano that provide an outstanding filler for the three sonatas. Most of us know there are many fine recordings of these works available. This particular recording doesn't seem to be as much available as Stadtfeld's other discs but is one that is among the musically most inspiring I have heard, and I had to return to it several times from end-to-end to believe what I was hearing. [Sony Classical 57519, 54:27]
If you love Bach as I do, you should give your ears some dessert by hearing anything on this recording, especially the three sonatas (my favorite remains BWV 1027 in G). I have to say that it is rare that I enthuse this much about a recording (I probably do enthuse more than I think!).

[maestrob]

Can't find him anywhere. Lance. Do you mean pianist Martin Stadtfeld? I found Jan Vogler, but not the album you referenced.

[Lance]

Yes! Martin Stadtfeld. My mistake ... typo, or mind fog. Thanks. I've corrected it in the original post.

Can't find him anywhere. Lance. Do you mean pianist Martin Stadtfeld? I found Jan Vogler, but not the album you referenced.

[premont]

It seems peculiar when people refer to Bach's cello sonatas. It's akin to discussing his accordion pieces when his keyboard compositions are performed on the accordion. The so-called "cello sonatas" are in fact trio sonatas, with the keyboard playing the upper and lower voices and the viola da gamba playing the middle voice. These works are sometimes viewed as sonatas for keyboard with an obligatory viola da gamba part.

[Belle]

Yes, this is true. In fact the Trio Sonata is one of the oldest - if not THE oldest - ensemble form in western music. It's actually quite a complicated beast and I remember researching it for 1st year Musicology many decades ago and it was like folding smoke, so diverse were the iterations of Trio Sonata. Some works by Italian baroque composers were called Trio Sonatas but they actually weren't. You had to look at the texture and musicians could decide what instruments they could play. Was the basso continuo part of the polyphonic texture for a Trio Sonata? I never could figure it out.

[Lance]

While historically correct insofar as being "trio sonatas," most people hear them live or on recordings as cello and keyboard (piano or harpsichord) sonatas. I suppose that's now these works get the sonata nomenclature. Nonetheless, wonderful works they are!

It seems peculiar when people refer to Bach's cello sonatas. It's akin to discussing his accordion pieces when his keyboard compositions are performed on the accordion. The so-called "cello sonatas" are in fact trio sonatas, with the keyboard playing the upper and lower voices and the viola da gamba playing the middle voice. These works are sometimes viewed as sonatas for keyboard with an obligatory viola da gamba part.

[premont]

While historically correct insofar as being "trio sonatas," most people hear them live or on recordings as cello and keyboard (piano or harpsichord) sonatas. I suppose that's now these works get the sonata nomenclature. Nonetheless, wonderful works they are!

This is true, but it's also why one must "retune" one's ears to avoid perceiving the cello or viola da gamba as the primary soloist, if one wishes to experience the works as Bach intended.

[Lance]

Agree, there are those that want to hear the music as it was conceived and heard by the composer - those are the historical performance enthusiasts, of which there are many. On the other hand, Bach's WTC was not written for a modern-day concert grand piano, but a harpsichord. I like it either way, but prefer to hear the "48" on a modern grand piano. It may be presumptuous to think or say that even Bach — had he known the present-day piano — would not object. What prompted this thread was that recording on Sony with Jan Vogler, cello and Martin Stadtfeld, piano. I have many recordings of these works and was truly impressed with the work of these then much younger artists in 2009. At least Bach's music is being heard, and in this combination, it seems to enthrall and inspire the listener, or it did for me.

While historically correct insofar as being "trio sonatas," most people hear them live or on recordings as cello and keyboard (piano or harpsichord) sonatas. I suppose that's now these works get the sonata nomenclature. Nonetheless, wonderful works they are!

This is true, but it's also why one must "retune" one's ears to avoid perceiving the cello or viola da gamba as the primary soloist, if one wishes to experience the works as Bach intended.

[nosreme]

I found this recording quickly on Presto and was surprised to see that it dates back to 2009.

[Lance]

Yes, that is a very young Martin Stadtfeld at the piano - and it's amazing to hear play so perfectly in these three works. Vogler, too, outstanding. I have played this disc a number of times all the way through, not only for the sonatas but the other works included. People will be pleasant surprised when they hear this disc.

I found this recording quickly on Presto and was surprised to see that it dates back to 2009.