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We often attach great value to the authenticity of compositions and believe it is important that works are performed in their original form. Yet this was seldom the case in the past.
Transcribed or not, these are still beautiful works after three hundred years.“
Composers often referred to one another, ‘borrowing’, replacing or elaborating on parts of a work, either their own work or that of another. They had a very practical and flexible way of dealing with music. And Johann Sebastian Bach was no exception. He often took inspiration from other people’s work or made new versions of his own compositions.
So if we are unsure of the precise origins of a piece, it may not be such a bad thing at all. In this programme, for instance, you hear the Sonata in F major for violin and continuo, which has the same bass line as the Trio Sonata, BWV 1038 and the Sonata, BWV 1021. All three compositions were given a BWV number, although we are still unclear as to exactly who wrote what. And whether rewritten or not, these works still sound wonderful three hundred years later.
This tour is a coproduction with Organisatie Oude Muziek.
JOHANN SEBASTIAN BACH
Sonata in F major for violin and continuo, BWV 1022
Sonata in F minor for violin and harpsichord, BWV 1018
Arrangement of violin sonata in G minor for violin and harpsichord, BWV 1001
Fugue in G minor, BWV 1026
Sonata in G major for violin and harpsichord, BWV 1019a
Shunske Sato, violin
Diego Ares, harpsichord
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