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

【Classical music and nature 古典音樂小站】Johann Sebastian Bach: Sonata I in B Minor for Violin and Harpsichord - IV. 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.

"In the period 1700–1750, the trio sonata form became a sine qua non in the musical world. It incorporated all the ideals of harmony, melody and counterpoint espoused by theorists such as Mattheson, Scheibe and Quantz. In his treatise Der Vollkommene Capellmeister of 1739, Mattheson wrote that, ... es müssen hier alle drey Stimmen, jede für sich, eine feine Melodie führen; und doch dabey, soviel möglich, den Dreyklang behaupten, als obes nur zufälliger Weise geschehe: "Here each of the three voices must separately provide a fine melodic line; yet all the while together they must sustain as much as possible the three part harmony, as if by serendipity." Amongst all composers of that era, Bach was the one who raised the trio sonata form to its highest degree of perfection. In 1774 Bach's son Carl Philipp Emanuel commented that even after fifty years his father's compositions of this kind still sounded very good and that the lyricism of several of his adagios had never been surpassed. This continued veneration for these particular works even long after his death probably sprang not only from the fact that the form matched Bach's own compositional ideals—that all voices should "work wondrously with each other" (wundersam durcheinander arbeiten)—but also from the succeeding generation's preference for "sensitive" melodies.

Perhaps even more influential was Bach's elevation of the harpsichord from a continuo instrument to a prominent obbligato instrument, on equal terms with the solo instrument, whilst also providing the bass line. As Stowell (1992) comments, with his sonatas for violin and obbligato keyboard "Bach triggered off the gradual demise of the sonata for violin and continuo," even though it lived on in a few eighteenth century volin sonatas, for example those of Bach's German contemporaries Johann Adam Birkenstock, Johann David Heinichen, Gottfried Kirchhoff and Johann Georg Pisendel." (Source Wikipedia)

This view was filmed by Christian Schlegel in Adelboden, Switzerland. The video was 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 - IV. 快板。這首美妙的樂曲由保羅·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），並通過www.musopen.org提供。

“在1700–1750年間，三重奏奏鳴曲形式成為音樂世界的必需品。它融合了馬特森、舍伊貝和昆茨等理論家倡導的和聲、旋律和對位法的所有理想。馬特森在他1739年的著作《完美的樂長》中寫道，...es müssen hier alle drey Stimmen, jede für sich, eine feine Melodie führen; und doch dabey, soviel möglich, den Dreyklang behaupten, als obes nur zufälliger Weise geschehe：“這裡每一個聲部都必須單獨提供一條精美的旋律線；然而同時，它們盡可能地保持三部和聲，好像這是偶然發生的。”在那個時代的所有作曲家中，巴赫是那個將三重奏奏鳴曲形式提升到最高完美程度的人。1774年，巴赫的兒子卡爾·菲利普·埃馬努埃爾評論說，即使五十年後，他父親的這類作品仍然聽起來非常好，並且他的一些慢板的抒情性從未被超越。對這些特定作品的持續崇敬，即便在他去世很久之後，可能不僅源於這種形式與巴赫自己的作曲理想相匹配——所有聲部应该“奇妙地相互作用”（wundersam durcheinander arbeiten）——也來自於後代對“感性”旋律的偏好。

或許更具影響力的是，巴赫將大鍵琴從低音持續伴奏樂器提升為一個重要的必奏樂器，與獨奏樂器地位平等，同時也提供低音線。正如斯托威爾（Stowell，1992）所評論的，通過他的小提琴和必奏鍵盤奏鳴曲，巴赫引發了小提琴和低音持續奏鳴曲逐漸的消亡，“即便它在一些十八世紀的小提琴奏鳴曲中存活了下來，例如巴赫的德國同時代人約翰·亞當·比肯斯托克、約翰·大衛·海尼琴、戈特弗里德·柯赫霍夫和約翰·喬治·皮森德爾的作品。”（來源：維基百科）

這一景觀由克里斯蒂安·施雷格爾在瑞士阿德爾博登拍攝。視頻由馬文璟編輯。





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