Horacio Franco & Fabián Espinosa | Primero Bach

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Primero Bach

by Horacio Franco & Fabián Espinosa

Originally for organ, performed on recorder and harpsichord, showing in each one deep, complex, inspired and beautiful works. Originalmente para órgano, en flauta y clavecín muestran profundidad, complejidad, inspiración y belleza en cada una.
Genre: Classical: Bach
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1. Sonata No. 1 in G Major, BWV 525: I. Allegro Moderato Horacio Franco & Fabian Espinosa
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2. Sonata No. 1 in G Major, BWV 525: II. Adagio Horacio Franco & Fabian Espinosa
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3. Sonata No. 1 in G Major, BWV 525: III. Allegro Horacio Franco & Fabian Espinosa
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4. Sonata No. 2 in E minor, BWV 526: I. Vivace Horacio Franco & Fabian Espinosa
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5. Sonata No. 2 in E minor, BWV 526: II. Largo Horacio Franco & Fabian Espinosa
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6. Sonata No. 2 in E minor, BWV 526: III. Allegro Horacio Franco & Fabian Espinosa
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7. Sonata No. 3 in D minor, BWV 527: I. Andante Horacio Franco & Fabian Espinosa
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8. Sonata No. 3 in D minor, BWV 527: II. Adagio e Dolce Horacio Franco & Fabian Espinosa
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9. Sonata No. 3 in D minor, BWV 527: III. Vivace Horacio Franco & Fabian Espinosa
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10. Sonata No. 4 in A minor, BWV 528: I. Adagio-Vivace Horacio Franco & Fabian Espinosa
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11. Sonata No. 4 in A minor, BWV 528: II. Andante Horacio Franco & Fabian Espinosa
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12. Sonata No. 4 in A minor, BWV 528: III. Un Poco Allegro Horacio Franco & Fabian Espinosa
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13. Sonata No. 5 in F Major, BWV 529: I. Allegro Horacio Franco & Fabian Espinosa
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14. Sonata No. 5 in F Major, BWV 529: II. Largo Horacio Franco & Fabian Espinosa
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15. Sonata No. 5 in F Major, BWV 529: III. Allegro Horacio Franco & Fabian Espinosa
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16. Sonata No. 6 in C Major, BWV 530: I. Vivace Horacio Franco & Fabian Espinosa
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17. Sonata No. 6 in C Major, BWV 530: II. Lento Horacio Franco & Fabian Espinosa
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18. Sonata No. 6 in C Major, BWV 530: III. Allegro Horacio Franco & Fabian Espinosa
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ABOUT THIS ALBUM


Album Notes
The 6 famous Triosonatas BWV525-530, written by Bach with the indication “a 2 clav. E pedale”, indicating the organ, are performed on this recording by Horacio Franco on the recorder and Fabian Espinosa on the harpsichord, following the pattern of baroque era in adapting original works to other instruments (even by Bach himself), showing the genius that the master of Eisenach displays in each of these deep, complex, inspired and beautiful works.
Among Organists, J. S. Bach's Six Sonatas, BWV 525 - 530 are some of his most highly-praised works, owing to their technical demands, their non-conventionality in the contex of Bach's ouevre for organ, and lastly, the "concertante" style writing for two higher voices and a bass line which they contain, a trait more commonly associated whit his Sonatas in Trio or Triosonatas, but quite unusual for organ pieces of that time. The sonatas' manuscripts, prepared by his son Wilhelm Friedmann, date from the beginning of Bach's first biographer, assumes that another of Bach's sons (Carl Phillip Emmanuel) told him that they were composed whit the improvement of Wilhelm's pedal technique in mind, giving rise to the theory that they were expressly written for the organ. However, there has been much speculation regarding the instrument for which they where originally written; due to their non-organ-like characteristics, they may have been conceived for one of Bach's preferred instruments: the pedal clavichord,and instrument which facilitated the practice of organ works within the home.
Some of de six Sonatas' movements were used by Bach in this other works: the second movement of his sonata #3, BWV 527 was recycled in his Concerto in a minor, BWV 1045,a piece written for flute, violin, and harpsichord; while the initial movement of the Sonata #4, BWV 528 had first seen the light of day as the Sinfonia for oboe d'amore, viola da gamba, and continuo,from his Cantata, BWV76, entitled "Die Himmel ertzälen die Erre Gottes". As the adaptation and arrangement of one´s own pieces (as well as other composer´s pieces was common practice among Barroque composers, including Bach himself, the possibility of these pieces being performed by any combination of instrument which could play Trio-sonatas shouldn´t strike us as being particularly weird. Thus, the two upper-most voices could be played by melodic instruments (violins, flutes, oboes, etc.), while the bass line is covered by a continuo: cello, gamba, or bassoon, harmonized with a harpsichord, thiorba, or an organ.
For the present recording, we have distributed the three melodic voices between two instruments: the recorder covers the top line, while the harpsichord plays the remaining two, in addition to the a few continuo lines. We have attempted to emulate the sound image found in the Three Sonatas for Flute and Continuo, BWV 1030-1032 or the Six Sonatas for violin and Cembalo obbligato, BWV 1014-1019, wherein Bach reduces the Trio-sonata texture to only two instruments, creating a "concertante" role for the harpsichord in the process. In any case , the incredible nobility and wisdom in Bach´s music are far beyond any consideration that may refer use to a performance that would be considered historically "correct", or indeed, any vindication regarding the performance of these pieces on an organ o pedal clavichord. Our aim has been to connect ourselves via the tools at our disposition -our instruments and stylistic knowledge- with Bach´s enormously prodigious mind: a source of endless, timeless learning and enjoyment, for musicians and audiences alike.

Las 6 célebres Triosonatas BWV 525 a 530 escritas para por Bach con la indicación “a 2 clav. e pedale” -indicando al órgano- son ejecutadas en ésta grabación por Horacio Franco en las flautas de pico y Fabián Espinosa en el clavecín, siguiendo la costumbre de adaptación de la época a otros instrumentos (incluso por el mismo Bach), y muestran el enorme genio que el gran maestro de Eisenach desplaya en cada una de éstas profundas, complejas, inspiradas y bellas obras.
Una de las obras más valoradas de J.S. Bach por los organistas son las 6 Sonatas BWV 525 a 530, por su alto grado de dificultad, por la diferencia del resto de su producción para éste instrumento, y por la escritura concertante a dos voces y bajo, que las acerca ala forma de la Sonata en trío o Triosonata, forma inusual hasta entonces para el órgano solo. El manuscrito, complicado para su hijo Wilhelm Friedmann, data de principios de la estancia de Bach en Leipzig y tiene la indicación "a 2 clav. e pedale". Forkel, el primer biógrafo de Bach, asegura que Carl Phillip Emmanuel le mencionó que fueron hechas para perfeccionar la técnica del pedal de su hermano, lo que dió pie a que se consideraran obras exclusivas para órgano. Exiten muchas conjeturas en la actualidad sobre el instrumento para el que fueron originalmente pensadas, y probablemente por sus características poco organísticas, pudieron haber sido concebidas para uno de los instrumentos preferidos de Bach: el clavicordio con pedalera en el que se podia estudiar asimismo en casa las obras de órgano.
Varias de las partes de éstas Sonatas fueron utilizadas por Bach en otras obras, como el segundo movimiento de la Sonata 3 BWV 527, usada en el concierto BWV 1044 en la menor, para flauta, violín y clave, o el primer movimiento de la Sonata 4, BWV 528, utilizada como Sinfonía instrumentada para oboe d'amore, viola de gamba y continuo en la Cantata BWV 76, "Die Himmel erzählem die Ehre Gottes". Dada la costumbre de Bach y de la mayoría de los compositores de su época de arreglar y adaptar constantemente sus propias -y a veces ajenas- obras, no es extraño especular que las 6 Sonatas pudiesen haber sido ejecutadas por cualquier tipo de instrumentos aptos para un Triosonata: las voces superiores interpretadas por dos instrumentos melódicos- violines, flautas, oboes, etc.-, y la voz inferior por un bajo continuo: cello, fagot, o viola de gamba armonizados con clavecín, tiorba u órgano.
En ésta grabación hemos sintetizado las tres voces en nuestros dos instrumentos: la voz superior es confiada a la flauta y las otras 2 al clavecín, el que tiene algunos momentos de continuo. Con elllo nos pretendemos acercar a la imágen sónora de las 3 Sonatas para flauta y clavecín obligado BWV 1030-1032, o de las 6 Sonatas para violín y clavecín obligado, BWV 1014-1019, en las que Bach sintetiza la textura del Triosonata a únicamente dos intrumentos y hace la parte del clave la de un instrumento concertante.
Sin embargo, la nobleza y la sabiduría infinitas de la música de Bach, presentes en estas obras, están muy por encima de cualquier consideracion que nos remita a una ejecución histórica o a una apología concerniente a por qué no las estamos tocando en un órgano o un clavicordio con pedalera, y sólo tratamos de conectarnos por medio de nuestras herramientas de trabajo -nuestros instrumentos y conocimiento del estilo- , a la enorme mente prodigiosa de Bach, de la cual músicos y público seguiremos aprendiendo y disfrutando por siempre.


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