Fabio Bonizzoni | Ryo Terakado

The Sonatas for Violin and Cembalo obbligato Vol. 1

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917286625
Catnr: CC 72866
Release date: 14 January 2022
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Label
Challenge Classics
UPC
0608917286625
Catalogue number
CC 72866
Release date
14 January 2022

"These are excellent readings of these great works. The music dances and sparkles, and this duo doesn't set a foot wrong anywhere."

American Record Guide, 01-5-2022
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Artist(s)
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About the album

Johann Sebastian Bach developed a new style, cembalo obbligato, where the right hand of the keyboard plays as a melody instrument and is given the same importance as the violin, flute or other solo instrument. His sonatas for melody instrument and keyboard instrument include works for flute, violin, and viola da gamba. It seems that the obbligato style interested him more than the traditional continuo role for the keyboard. As for the violin, there are two sonatas written with basso continuo and six with harpsichord obbligato. Among these works, the six sonatas in particular were conceived as a set, with a consistent style and a well-considered key distribution. This set is one of the highlights in the catalog of Bach’s chamber music. Bach’s son Carl Philippe Emmanuel Bach writes to Bach’s first biographer, Johann Nikolaus Forkel, in 1774: “The 6 clavier [and violin] trios...are amongst the best works of my dearly beloved father. Even now they sound very good and give me many delights, regardless of the fact that they are over fifty years old.”

The key distribution is somewhat symmetric and this suggests that Bach intended these as a set of pieces for violin, comparable to his unaccompanied sonatas and partitas for violin. Additionally, with the exception of Sonata No. 6, this set of works all follow the church sonata style.

Ryo Terakado: My first performance with Fabio was in 2019. We had been colleagues at the Royal Conservatoire in The Hague for a long time, but we had never actually performed together in concert. We discovered immediately that we shared a common musical language and approached our music similarly, and the collaboration was tremendously successful and rewarding. We now feel that our ensemble as a duo is sufficiently mature that it is our pleasure to present to you these fruits of our collaboration. Bach is a delight in our life.
De twee topmuzikanten klavecinist Fabio Bonizzoni en violist Ryo Terakado gaan de Zes sonates voor viool en klavecimbel van Johann Sebastian Bach uitbrengen. Dit is het eerste deel ervan. De zes sonates vormen een eenheid en behoren tot Bachs vroegste meesterwerken. Ze kunnen vergeleken worden met zijn cellosuites en vioolsonates en partita’s.

Voor deze opname is bewust gekozen voor Bonizzoni en Terakado. Zij behoren niet tot de jongste generatie barokmusici. Verwacht daarom geen flamboyante, excentrieke en eigenzinnige muziek. Hier klinkt de solide ervaring, de technische beheersing van serieuze, bedreven muzikanten, die deze muziek grondig hebben bestudeerd.

Toch is er geen enkele academische stijfheid, vaak geassocieerd met deze sonates, te horen. Integendeel, als in een vlot gesprek vloeit de muziek warm en vriendelijk in elkaar over. Respect voor de partituur, een zekere bescheidenheid, persoonlijke opvattingen die altijd ten grondslag liggen aan musicologische bewijzen, zijn de belangrijkste kenmerken van dit mooie album. Sommigen vinden dit misschien ouderwets, anderen beschouwen het als de enige manier om het grote repertoire te benaderen.

De zes triosonates voor viool en obbligato klavecimbel van Bach zijn geschreven tijdens zijn verblijf in Köthen. Bach schreef hiermee muziekgeschiedenis. Het was gebruikelijk dat componisten in de 18e eeuw in hun vioolsonates de viool de belangrijkste rol gaven, ondersteund door andere instrumenten. Zo niet Bach. Hij ontwikkelde een nieuwe stijl, ‘cembalo obbligato’. Daarin zijn de viool en de rechterhand van het klavecimbel volkomen gelijkwaardige partners, terwijl de linkerhand een aparte baspartij speelt. Echte triosonates dus. Het levert muziek op die klinkt als een levendig gesprek, waarin viool en klavecimbel voortdurend op elkaar reageren.

Fabio Bonizzoni en Ryo Terakado waren al lang collega’s op het Koninklijk Conservatorium in Den Haag, maar hadden nog nooit samen opgetreden in een concert. Dat gebeurde pas in 2019. Ze ontdekten al snel dat ze een gemeenschappelijke muzikale taal deelden, de muziek op dezelfde manier benaderden. Dat de twee succesvol samenwerken is duidelijk te horen op dit prachtige album met muziek van Bach. Zoals Terakado zegt: “Bach is een genot in ons leven.”

Johann Sebastian Bach entwickelte einen neuen Stil, das Cembalo obbligato, bei dem die rechte Hand des Tasteninstruments als Melodieinstrument spielt und die gleiche Bedeutung wie die Violine, die Flöte oder ein anderes Soloinstrument erhält. Zu seinen Sonaten für Melodie- und Tasteninstrumente gehören Werke für Flöte, Violine und Viola da Gamba. Es scheint, dass ihn der obligate Stil mehr interessierte als die traditionelle Continuo-Rolle für das Tasteninstrument. Für die Violine gibt es zwei Sonaten mit Basso continuo und sechs mit Cembalo-Obligato. Von diesen Werken sind vor allem die sechs Sonaten als ein Satz konzipiert, mit einem einheitlichen Stil und einer wohlüberlegten Tonartenverteilung. Dieser Satz ist einer der Höhepunkte im Katalog der Bachschen Kammermusik. Bachs Sohn Carl Philippe Emmanuel Bach schreibt 1774 an Bachs ersten Biographen, Johann Nikolaus Forkel: "Die 6 Clavier- [und Violin-] Trios ... gehören zu den besten Werken meines geliebten Vaters. Noch jetzt klingen sie sehr gut und bereiten mir viel Freude, ungeachtet der Tatsache, dass sie über fünfzig Jahre alt sind."

Die Tonartenverteilung ist einigermaßen symmetrisch, was darauf hindeutet, dass Bach sie als eine Reihe von Stücken für Violine gedacht hat, vergleichbar mit seinen unbegleiteten Sonaten und Partiten für Violine. Mit Ausnahme der Sonate Nr. 6 folgen alle diese Werke dem Stil der Kirchensonate.

Ryo Terakado: Mein erster Auftritt mit Fabio war 2019. Wir waren schon lange Kollegen am Königlichen Konservatorium in Den Haag, aber wir waren noch nie zusammen im Konzert aufgetreten. Wir entdeckten sofort, dass wir eine gemeinsame musikalische Sprache haben und unsere Musik auf ähnliche Weise angehen, und die Zusammenarbeit war äußerst erfolgreich und lohnend. Wir sind nun der Meinung, dass unser Ensemble als Duo so ausgereift ist, dass es uns eine Freude ist, Ihnen diese Früchte unserer Zusammenarbeit zu präsentieren. Bach ist eine Freude in unserem Leben.

Artist(s)

Fabio Bonizzoni is considered one of the leading Italian harpsichordists and organists of his generation. His playing has been defined as “Bright and buoyant, with no tricks […] but plenty of energy and brilliance” (Gramophone).

Having graduated in baroque organ and harpsichord at the Royal Conservatory of The Hague in Ton Koopman’s class, he played for several years with some of the most important baroque orchestras of our times, in particular with the Amsterdam Baroque Orchestra, Le Concert des Nations and Europa Galante. Since 2004, he exclusively devotes himself to his activities as soloist and director, in particular of his own orchestra La Risonanza.

His impressive discography includes works by Claudio Merulo, Giovanni Salvatore, Giovanni Picchi, Francesco Geminiani, Bernardo Storace, Domenico Scarlatti, Johann Sebastian Bach (Goldberg Variations and the Art of Fugue), Girolamo Frescobaldi (First and Second Book of Toccatas).

With La Risonanza he has completed the project of recording all the Italian Cantatas with instruments by G.F. Handel: this project has been named by the Gramophone Magazine the most important of the decade, and 3 of the 7 CDs of the collection have been awarded the prestigious Handel Stanley Sadie Prize. The last disc of this series, Apollo e Dafne, won the Gramophone Award.

Since 2016, he and La Risonanza are recording for Challenge Classics: a Purcell’s Dido and Aeneas and two volumes of Bach harpsichord concertos have appeared so far.

His activity is also enriched by commitments as guest conductor both of baroque and modern orchestras.

Since 2014 he is artistic director of Note Etiche, a festival focusing on links between music, ethics and sustainability and, since 2016, he and his orchestra enjoy artistic residency at Palazzina Liberty in their hometown Milan.

Ryo Terakado was born in 1961 in Santa Cruz, Bolivia. He started to play violin at the age of 4, and won 2nd prize in the All Japan Youth Musical Competition when he was 14. Ryo studied violin, chamber music and conducting at the Toho Gakuen School of Music. In 1983, he took third prize in the All Japan Music Competition. Upon graduating from Toho Gakuen, he was invited to become concertmaster of the Tokyo Philharmonic Orchestra, a position he held for two years.

Meanwhile, Ryo’s interest in Baroque music had been developing for some time: at the age of 19, he started to teach himself Baroque violin, and in 1985, he moved to the Netherlands to study the instrument at the Royal Conservatory in The Hague under the guidance of Sigiswald Kuijken, receiving a soloist diploma in 1989.

Since 1987, he has performed as concertmaster with Baroque orchestras in Europe and Japan including La Petite Bande, Les Arts Florissants, La Chapelle Royale, Collegium Vocale Gent, and Tokyo Bach Mozart Orchestra; he made regular appearances with these orchestras to perform the concertos of composers including Bach, Vivaldi and Mozart. Ryo is also the current concertmaster of Bach Collegium Japan, and is invited frequently to Italy, Poland, France and Australia as a soloist. Since 1994, he has been one of the featured artists in the Hokutopia International Music Festival in Tokyo, where he made his debut as a conductor. His repertoire as a conductor includes operas by Monteverdi, Purcell, Rameau, Gluck, Haydn and Mozart.

Ryo is a faculty member of the Hague Royal Conservatory (Holland), The Royal Conservatory in Brussels and his alma mater, Toho Gakuen School of Music (Japan). He teaches regularly at Yonsei University in Seoul and makes concert appearances in Korea.

His discography can be found on the Ricercar (Belgium), Accent (Germany) BIS (Sweden) and Denon (Japan) labels.

Composer(s)

Press

These are excellent readings of these great works. The music dances and sparkles, and this duo doesn't set a foot wrong anywhere.
American Record Guide, 01-5-2022

So much pleasure makes me regret not already having the three other Sonatas, so I put the disc back, bright sunshine, pure enjoyment.
Artamag, 10-2-2022

It is these praises that also resound strongly in this extremely musical playing by Terakado and Bonizzoni, filled with an irresistible pleasure in this music, full of energy and with the necessary panache, rhythmically sufficiently free, imaginatively turned on and with the tempi (no dance forms!) excellently chosen.
Opus Klassiek, 17-12-2021

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