Total Time of Both Discs - 1:41:23

cover painting "Samson-Colen triptych" by Jacob Cornelisz van Oostsanen

Recorded in 1987
Remastered by Nikita Razlukin

Igor Oistrakh, violin
Natalia Zertsalova, harpsichord

Sonatas for Violin and Harpsichord occupied a special place among works by J.S. Bach (1685-1750). During his employment by Prince Leopold of Cöthen, Bach was fortunate to have access to a new harpsichord. He was pleased to learn that its capabilities exceeded those of instruments he had previously played. Around 1719 Bach wrote numerous solo compositions for the instrument, the quality of which encouraged Bach to give a more prominent role to harpsichord, which ordinarily had been only used for harmonic
accompaniment of other instruments and voice.
Bach's perfectionist approach made him revise the sonatas many times. According to
the composer's son Bach was working on them "just before he died", embracing an interval
of about 30 years since the work on the first sonatas started.
We can simultaneously experience in these compositions a development of Baroque
standards along with anticipation of the following epochs of classicism and romanticism.
In this regard an equal development of violin and harpsichord parts refers us to classical
standards inherited from polyphonic Baroque style. The difference with Baroque is, that
in the classical period there was more frequent exploitation of the textural idea of melody
and harmonic accompaniment. A weaving of melody and accompaniment was also
common for bel canto - a style of Italian opera seria, largely spread through Europe at
that time.
The violin, formerly the solo instrument in Bach's sonatas, often accompanies the
harpsichord or engages in a dialogue frequently shifting the role of the solo instrument inside the duo. The idea of frequent exchanges of roles between instruments later became a common feature of development sections in classical sonatas.
The endless divine melodies in slow movements, chromaticism and courageous
modulations, unusual for Baroque expressionism, anticipate a.......
more

Sonatas for Violin and Harpsichord occupied a special place among works by J.S. Bach (1685-1750). During his employment by Prince Leopold of Cöthen, Bach was fortunate to have access to a new harpsichord. He was pleased to learn that its capabilities exceeded those of instruments he had previously played. Around 1719 Bach wrote numerous solo compositions for the instrument, the quality of which encouraged Bach to give a more prominent role to harpsichord, which ordinarily had been only used for harmonic
accompaniment of other instruments and voice.
Bach's perfectionist approach made him revise the sonatas many times. According to
the composer's son Bach was working on them "just before he died", embracing an interval
of about 30 years since the work on the first sonatas started.
We can simultaneously experience in these compositions a development of Baroque
standards along with anticipation of the following epochs of classicism and romanticism.
In this regard an equal development of violin and harpsichord parts refers us to classical
standards inherited from polyphonic Baroque style. The difference with Baroque is, that
in the classical period there was more frequent exploitation of the textural idea of melody
and harmonic accompaniment. A weaving of melody and accompaniment was also
common for bel canto - a style of Italian opera seria, largely spread through Europe at
that time.
The violin, formerly the solo instrument in Bach's sonatas, often accompanies the
harpsichord or engages in a dialogue frequently shifting the role of the solo instrument inside the duo. The idea of frequent exchanges of roles between instruments later became a common feature of development sections in classical sonatas.
The endless divine melodies in slow movements, chromaticism and courageous
modulations, unusual for Baroque expressionism, anticipate a.......
more