{"id":8753,"date":"2021-11-05T17:06:50","date_gmt":"2021-11-05T16:06:50","guid":{"rendered":"https:\/\/cappellamediterranea.com\/post-discographie\/bach-before-bach\/"},"modified":"2023-11-03T17:07:59","modified_gmt":"2023-11-03T16:07:59","slug":"bach-before-bach","status":"publish","type":"post-discographie","link":"https:\/\/cappellamediterranea.com\/en\/post-discographie\/bach-before-bach\/","title":{"rendered":"Bach Before Bach"},"content":{"rendered":"\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"650\" src=\"https:\/\/cappellamediterranea.com\/wp-content\/uploads\/\/bach-before-bach_couv-1024x650.jpg\" alt=\"\" class=\"wp-image-6925\" srcset=\"https:\/\/cappellamediterranea.com\/wp-content\/uploads\/bach-before-bach_couv-1024x650.jpg 1024w, https:\/\/cappellamediterranea.com\/wp-content\/uploads\/bach-before-bach_couv-300x191.jpg 300w, https:\/\/cappellamediterranea.com\/wp-content\/uploads\/bach-before-bach_couv-768x488.jpg 768w, https:\/\/cappellamediterranea.com\/wp-content\/uploads\/bach-before-bach_couv.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<h4 class=\"wp-block-heading\">We thought it would be interesting to compare Bach\u2019s early works (he was an excellent violinist himself) with the works of his precursors to observe this earlier universe and see how music evolved up until Bach. &#8211; <em>Chouchane Siranossian<\/em><\/h4>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>&#8220;With this recording, Chouchane Siranossian and Leonardo Garc\u00eda Alarc\u00f3n present one of the most lively and profound interpretations I have ever heard. In Siranossian&#8217;s expressive, playing, everything seems imbued with meaning. This collaboration with Bal\u00e1sz M\u00e1t\u00e9 and Alarc\u00f3n is delightful.&#8221;<\/em><\/p>\n<cite>Remy Franck<\/cite><\/blockquote>\n<\/div>\n<\/div>\n\n<div class=\"wp-block-columns wp-embed-aspect-16-9 wp-has-aspect-ratio is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h2 class=\"wp-block-heading\">The violin according to Bach<\/h2>\n\n\n\n<p>In the first half of the 17th century, European composers were using instrumental music to experiment with sound and expression. They took inspiration from vocal rhetoric to create a new instrumental language that was characterised by increased virtuosity, invention, improvisation and a quest for unfamiliar and surprising sounds. Like the organ and harpsichord, the violin was the instrument of choice to experiment with these new techniques. It sparked the imaginations of seventeenth- and eighteenth-century Italian and German musicians like Farina, Schmelzer, Mealli, Buxtehude, Biber, Pisendel and Bach. Violinist Chouchane Siranossian and harpsichordist Leonardo Garc\u00eda Alarc\u00f3n, both of whom have recorded with Alpha Classics, have chosen to explore this repertoire, which notably includes Bach&#8217;s BWV 1019, 1021 and 1023 sonatas.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-bottom is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bach before Bach (Chouchane Siranossian, Leonardo Garc\u00eda Alarc\u00f3n, Bal\u00e1zs M\u00e1t\u00e9)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/x8dyrYFs8J8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n<\/div>\n\n<section class=\"container univers-cappella\">\n    <div class=\"univers-content\">\n\n        <div class=\"content-left\">\n            <iframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/artist\/2yJfqhVmNzxJw0bMoE6nUX?utm_source=generator\" width=\"100%\" height=\"352\" frameBorder=\"0\" allowfullscreen=\"\" allow=\"autoplay; 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What made you decide to return to the violin\u2019s roots?<\/strong><br \/>\n<strong>Chouchane Siranossia: <\/strong>We tend to forget about the violin repertoire that existed prior to Johann Sebastian Bach\u2019s Sonatas and Partitas. Yet many other composers came before Bach, including his own family, which was made up of several renowned musicians who had a great influence on him. Johann Paul von Westhoff and Johann Georg Pisendel\u2019s Sonatas for solo violin by, for example, foreshadow the arrival of the Sonatas and Partitas with polyphonic writing that was typical of the German violin school. [\u2026]<\/p>\n<p><strong>Vocal repertoire underwent significant development in the 17th century and before. Did it have an influence on this new, purely instrumental repertoire?<br \/>\n<\/strong><b>Leonardo Garc\u00eda Alarc\u00f3n<\/b>: I see an obvious link between Monteverdi and Bach in this interplay of influences that Chouchane mentions. Farina came from Mantua and may well have witnessed the premiere of <i>L&#8217;Orfeo<\/i> or the <i>Vespero<\/i> as a child. Monteverdi was the first person in the history of music to give the violin such a prominent place. To him, the violin was the only instrument that could express all human emotions and in particular, anger. As soon as the first public theatre was created in Venice in 1637, the violin became the instrument of choice to express the most intense emotions. The viola da gamba was relegated to the sidelines, as it maintained its role as an intimate, courtly instrument. Farina also composed one of the first descriptive scores, <i>Capriccio stravagante<\/i>, which ultimately culminated in Vivaldi&#8217;s <i>Four Seasons<\/i>. Capriccio stravagante confirms what Monteverdi said: the violin is Apollo&#8217;s new lyre, and for this lyre to be truly a lyre, it must be polyphonic. It was the Germans and Austrians who first developed this multi-part writing for the violin. Bach mastered this style at a very early age, beginning with the sonatas for violin and continuo BWV 1021 and 1023, which we have recorded here. In them, he pays tribute to all the inventions of the 17th century and opens the door to the 18th century. We are also presenting his very complex fugue in G minor BWV 1026, the only one written for violin and continuo. All these works are masterpieces of instrumental music, yet they are not that far removed from vocal music. You can hear text, the breathing between phrases, the consonants and vowels. During Bach&#8217;s time, vocal music was omnipresent in the minds of composers.<\/p>\n<p><strong>Extracts &#8211; Interviewed on 22 March 2021 by Claire Boisteau<\/strong><\/p>\n<\/p>\n    <\/section>\n<div class=\"wp-block-columns wp-embed-aspect-16-9 wp-has-aspect-ratio is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h2 class=\"wp-block-heading\">Artists<\/h2>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Chouchane Siranossian<\/strong>, violin<\/li>\n\n\n\n<li><strong>Bal\u00e1zs M\u00e1t\u00e9<\/strong>, cello, bass violin<\/li>\n\n\n\n<li><strong>Leonardo Garc\u00eda Alarc\u00f3n<\/strong>, harpsichord<\/li>\n<\/ul>\n\n\n\n<p><strong><mark style=\"background-color:rgba(0, 0, 0, 0);color:#3e84c3\" class=\"has-inline-color\"><em>Released by Alpha Classics on 5 November 2021<\/em><\/mark><\/strong><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Tracklist <\/h2>\n\n\n\n<p>Johann-Sebastian Bach &#8211; <strong>Violin Sonata in G major BWV 1021<br\/><\/strong>Carlo Farina &#8211; <strong>Sonata Quinta detta la Farina<br\/><\/strong>Johann Gottfried Walther &#8211; <strong>Passagagli, from sonata n\u00b06<br\/><\/strong>Johann Sebastian Bach &#8211; <strong>Adagio, from Violin Sonata in C minor BWV 1024<br\/><\/strong>Johann Sebastian Bach &#8211; <strong>Fugue, from Violin Sonata in G minor BWV 1026<br\/><\/strong>Georg Muffat &#8211; <strong>Sonata in D major<br\/><\/strong>Johann Sebastian Bach &#8211; <strong>Violin Sonata in E minor BWV 1023<br\/><\/strong>Johann Paul von Westhoff &#8211; <strong>Sonata III, Imitazione delle campane<br\/><\/strong>Andreas Anton Schmelzer &#8211; <strong>Victori der Christen<\/strong><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-328c6305 wp-block-columns-is-layout-flex\" style=\"padding-top:var(--wp--preset--spacing--30)\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<a class=\"link-default link-center link-circle\" href=\"https:\/\/outhere-music.com\/fr\/albums\/bach-bach\">\n    <div class=\"content-circle\">\n        <div class=\"circle\"><\/div>\n    <\/div>\n    <span class=\"title\">\n        Purchase the album from d&#8217;Outhere Music    <\/span>\n<\/a>\n\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"527\" height=\"937\" src=\"https:\/\/cappellamediterranea.com\/wp-content\/uploads\/bach-b4-bach-3.jpg\" alt=\"Chouchane Sinarossian, Bach before Bach, Cappella Mediterranea\" class=\"wp-image-5168\" srcset=\"https:\/\/cappellamediterranea.com\/wp-content\/uploads\/bach-b4-bach-3.jpg 527w, https:\/\/cappellamediterranea.com\/wp-content\/uploads\/bach-b4-bach-3-169x300.jpg 169w\" sizes=\"auto, (max-width: 527px) 100vw, 527px\" \/><\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"We thought it would be interesting to compare Bach\u2019s early works (he was an excellent violinist himself) with the works of his precursors to observe this earlier universe and see how music evolved up until Bach. &#8211; Chouchane Siranossian","protected":false},"featured_media":6926,"parent":0,"menu_order":0,"template":"","meta":{"_acf_changed":false},"tags":[],"categorie-discographie":[61],"class_list":["post-8753","post-discographie","type-post-discographie","status-publish","has-post-thumbnail","hentry","categorie-discographie-album"],"acf":[],"_links":{"self":[{"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/post-discographie\/8753","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/post-discographie"}],"about":[{"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/types\/post-discographie"}],"version-history":[{"count":0,"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/post-discographie\/8753\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/media\/6926"}],"wp:attachment":[{"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/media?parent=8753"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/tags?post=8753"},{"taxonomy":"categorie-discographie","embeddable":true,"href":"https:\/\/cappellamediterranea.com\/en\/wp-json\/wp\/v2\/categorie-discographie?post=8753"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}