#dailybach

The New York Philharmonic collates cellists together to perform Bach’s 3rd Cello Suite in C Major. Music continues, lockdown or none. 

Bach’s Trio Sonata No. 4 in E Minor (BWV 528). The second movement can only be described as sublime. 

Bach fans: you won’t want to miss this incredible performance of Brandenburg 6, headed by Shunske Sato. I only realised today that he also played viola. This Concerto is remarkable for its lack of violins, with violas playing the lead parts using Bach’s signature contrapuntal style. I read somewhere that this piece could be considered as a pioneer in viola repertoire. As we know from CPE Bach, when in a chamber music setting, Bach chose to play viola. This was so that he could hear both sides of the harmony. Small wonder then, that he wrote great works and parts for the violas. For one such example, listen to his opening movement for the St. John Passion. 

Bach’s sonata for Violin and Harpsichord (here, accompaniment is played on the piano) in E Major, BWV 1018. Played by Frank Peter Zimmermann & Enrico Pace. I remember hearing the 3rd movement for the first time during a documentary featuring Zimmermann, who discussed his interpretation of Bach. I had to search up the entire work and then listen to the other Sonatas with Harpsichord. 

A great performance of Bach’s Das musikalische Opfer (The Musical Offering) from the old Town House in Leipzig. Featuring:  Barthold Kuijken - Traverso Sigiswald Kuijken - Violine Wieland Kuijken - Viola da gamba Robert Kohnen - Cembalo. 

Frank Peter Zimmermann and Enrico Pace once again, playing Bach’s Sonata for Violin and Harpsichord in F Minor (BWV 1018). My favourite movement in this work is the Adagio, in which the violin plays double stops against a cascading set of arpeggios from the harpsichord (in this case, pianist). The dissonances in the harpsichord part are fascinating and prompted me to learn both the violin and bass part, as well as just the harpsichord part. It requires a strict knowledge of arpeggio fingering, as well as the various minor keys, including minors with accidentals. A challenge! 

A stunning performance of Bach’s Aria, Aus Liebe from the St Matthew Passion. Sung by Sarah Shafer, and the flautist is Mimi Stillman. 

Bach’s fiendishly difficult Prelude and Fugue in C Minor, from the WTC BWV 847. Played by Suzuki for the Netherlands Bach Society.