ExclusiveBach: Sonata I in B Minor for Violin and Harpsichord - II. Allegro 巴赫：B小調第一號小提琴與大鍵琴奏鳴曲 - II. 快板

【Classical music and nature 古典音樂小站】Johann Sebastian Bach: Sonata I in B Minor for Violin and Harpsichord - II. Allegro. This beautiful piece was played by Paul Pitman. It has Creative Commons license (PDM 1.0 DEED, Public Domain Mark 1.0 Universal) and is provided through www.musopen.org.

The "Sei Sounate à Cembalo certato è Violino Solo", as they are called in the earliest authentic source, are Bach's most important chamber music cycle, in a sense his chamber music legacy to posterity. They were the first violin sonatas in music history in which the keyboard instrument freed itself from the role of chordal accompaniment in the basso continuo and became an equal partner to the violin. The imagination with which Bach savoured the compositional possibilities of this constellation, the formal perfection of each individual sonata and their very specific expressive world make these pieces the first "classical" duo sonatas in the violin repertoire.

In the compositional understanding of Bach's time, these were of course trio sonatas. Since two upper voices, the violin and the right hand, play above the bass, i.e. the left hand of the harpsichord, we are dealing with a situation analogous to the trio sonata. In Bach's hands, however, the possibilities of this constellation multiplied - from the pure harpsichord solo to the strict trio movement to the veritable quartet or even quintet movement.

The sonatas were composed before 1725, in the summer of that year Bach had his nephew Johann Heinrich make a copy of the parts, to which he added the last movements of the still unfinished sixth sonata in his own hand. Apparently Bach wanted to play the sonatas during his visit to Dresden in September 1725 with his violinist friend Johann Georg Pisendel there and possibly also in Köthen in December, together with the Köthen concertmaster Spieß and Prince Leopold on the viola da gamba. A viola da gamba part has been preserved for the sonatas, which reinforces the harpsichord bass. The pieces were certainly composed at the court in Köthen before he moved to Leipzig, i.e. before May 1723. Bach later revised the cycle twice, whereby the sixth sonata was fundamentally revised each time. The final version from the 1740s has been preserved in a copy by his son-in-law Johann Christoph Altnickel." (Source: kammermusikfuehrer.de)

In the winter of 2024 in Kandertal, Switzerland, it was cold, as it usually is in winter, but the white clouds and blue sky made it worthwhile to be outside and film this scene. It was shot by Simone Schlegel and edited by Wenjing Ma.

【古典音樂小站】約翰·塞巴斯蒂安·巴赫：B小調第一號小提琴與大鍵琴奏鳴曲 - II. 快板。這首美妙的曲子由保羅·皮特曼演奏。它擁有創用CC授權（公共領域標誌 1.0 通用 PDM 1.0 DEED），通過www.musopen.org提供。

所謂的“Sei Suonate à Cembalo certato è Violino Solo”，在最早的可靠來源中的稱呼，是巴赫最重要的室內樂循環作品，某種意義上是他留給後世的室內樂遺產。這些是音樂史上首次大鍵琴從低音連續低音的和弦伴奏角色中解放出來，成為小提琴的平等夥伴的小提琴奏鳴曲。巴赫以其想象力探索這一組合的作曲可能性，每首奏鳴曲的形式完美和它們非常特殊的表達世界，使這些作品成為小提琴曲目中第一批“古典”二重奏奏鳴曲。

在巴赫時代的作曲理解中，這些當然是三重奏奏鳴曲。因為兩個高音部，即小提琴和大鍵琴的右手，位於低音之上，即大鍵琴的左手，我們處於與三重奏奏鳴曲相似的情況。然而，在巴赫的手中，這一組合的可能性被倍增——從純大鍵琴獨奏到嚴格的三重奏樂章，乃至真正的四重奏或甚至五重奏樂章。

這些奏鳴曲在1725年之前作曲，那年夏天巴赫讓他的侄子約翰·海因里希抄寫了部分樂譜，並用自己的手增加了尚未完成的第六奏鳴曲的最後樂章。顯然巴赫想在1725年9月訪問德勒斯登時，與他的小提琴家朋友約翰·喬治·皮森德爾一起演奏這些奏鳴曲，可能也在12月的科滕，與科滕音樂會領奏者斯皮斯和萊奧波德親王一起演奏大提琴。這些奏鳴曲為大提琴保留了一部分，這加強了大鍵琴低音。這些作品肯定是在巴赫移居萊比錫之前的科滕宮廷作曲，即1723年5月之前。巴赫後來兩次修訂了這個循環，其中第六奏鳴曲每次都進行了根本性的修訂。來自1740年代的最終版本保存在他的女婿約翰·克里斯托夫·阿爾特尼克爾的抄本中。（來源：kammermusikfuehrer.de）

2024年冬季在瑞士坎德塔爾，天氣如同冬季通常那樣寒冷，但白雲和藍天讓外出拍攝這一幕成為一種值得的體驗。由西蒙娜·施雷格爾拍攝，馬文璟編輯。





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