The sonatas for cello and piano represent a development from the Corellian sonata style of Bach’s early years to the Italian Concerto style of later years and demonstrate the influence of the great Italian genius Antonio Vivaldi. The exuberance and complexity of this music seems to transcend a mere duo, not only because of sheer vitality but also its meditative beauty, which is no more evident than in the intoxicating adagios.

Artists Byron Duckwall (cello) and Katya Grineva (piano) have created a vivacious yet lyrical recording of these great masterworks. They've achieved a delicate balance between passion and elegance which makes these works come to life.

Ms. Grineva performed
on a Steinway B piano

Mr. Duckwall performed
on a Thomas Dodd cello.

TRACK LISTS

Sonata no.1 in
G major BWV 1027

4:01

3:18

3:14

2:52

Sonata no.2 in
D major BWV 1028

2:13

3:49

5:32

3:54

Sonata no.3 in
G minor BWV 1029

Vivace

Adagio

Allegro

5:09

6:12

3:32

Dedications...

To George Neikrug for his great musical influence.

To John Duckwall who was passionate for the cello.

To Adi Da for all His Help.

It is not known whether Bach wrote these three sonatas during his stay at the court of Cöthen (1717-1723) or when he was Cantor of Saint-Thomas in Leipzig (1740). In any case they are written in distinctly different styles, sonatas 1 and 2 adopting the form of the Corellian church sonatas (4 movements) whereas the 3rd sonata uses the framework of the Italian concerto (3 movements). The piano is never relegated to the role of mere accompanist but is a full musical partner.

The G major sonata, also known for its version for two flutes and continuo, begins with a pastoral Adagio and follows with an sparkling Allegro ma non tanto in a popular vein. Then a sublime Andante is followed by an energetic fugue (Allegro Moderato).

The D major sonata begins with a genuine air (Adagio), which is freely ornamented and segues into a joyous Allegro with a deftly turned bass. The Andante is a depthful meditation, intensely expressive written in canonical style. The gravitas of the previous movement is quickly dispatched by a vigorous Allegro.

The G minor sonata ventures into the world of the concerto beginning with an initial Vivace of exceptional contrapuntal wealth. The prayerful Adagio, communicates a unique emotion, not common in Bach’s works. The driving finale (Allegro), is perfectly tempered with a cantabile motif which frequently reappears.

Audio Samples

Quantity:

buy cd

download cd

track-01

track-02

track-03

track-04

track-05

track-06

track-07

track-08

track-09

track-10

track-11