Credits:

Bach, C.P.E.

Description:

Although France is now known to everyone as a leading country in the field of ancient music, this has only happened relatively recently, with the steady efforts of its progressive and dedicated predecessors until the 1980s, on whose ground the rapid progress of William Christie, Herreweghe of Paris, Margoire, and others had begun. He certainly had his eye on his own path even in such a transitional period, when the public eye was still focused only on historical interpretations of the masterpieces of Bach, Vivaldi, and other big names that would appeal to even relatively conservative classical fans, and he was still playing the masterpieces of Chambonier, the founder of the French clavesan school before Coupland. Françoise Langeret, who is featured on this disc, is an old-time keyboardist of the genuine French school who played the masterpieces of the pre-Coupland French clavesan school with aplomb. Her activities were certainly well known even to the devoted fans of classical music in Japan, far away across the sea, and from the end of the 20th century, when recordings were almost impossible to obtain, her rare and precious CD recordings had a cult-like following. Meanwhile, Marianne Muller has been active with her in Lyon in the south of France, one of France's hidden centers of ancient music, and has trained not only French but also future super players in Japan and other parts of the world.The Zig-Zag Territoires also has some great recordings, but now, these two masters of ancient music, who have been gaining enthusiastic followers all over the world with their single-minded ability, have recorded "those masterpieces of Bach's late period" with great enthusiasm! As you know, the viola da gamba is an old instrument that was almost obsolete in Bach's time, but our "Father of Music" showed a unique attachment to this instrument and used it to great effect in the climax of "The Matthew Passion", and in his later years, when he was in the process of finalizing his own compositional skills, he recorded three sonatas to sum up his chamber music style. In his later years, when he wrote three sonatas to sum up his own chamber music composition techniques, he chose the gamba as his instrument of choice. The sonatas, in which the harpsichord (keyboard) player's right hand is used as a single instrument, and the two players work together to create a trio-like musical content, are a true masterpiece for both the gamba player and the music lover who loves the sound of the harpsichord. For both gamba players and music lovers who love the sound of the sonatas, these sonatas are truly treasures of the late Baroque period.The Zig-Zag Territoires label, known for its naturalistic sound based on a one-point recording approach, has been a favorite of such ancient musicians as Lyubimov, Inmazel, and Banchini, who are particular about acoustic interpretation. This time, too, the thorough and natural acoustic reproduction captured every nuance of the bow return and subtle atmospherics, making for a truly rewarding auditory experience. And how natural and polished the virtuosity of the two masters under such perfect conditions was...! Without a doubt, this is a masterpiece of interpretation that will scare away the masterpieces of the gumba masters Kuiken and Savard, as well as the many other brilliant musicians who have followed in their footsteps. The Sonata BWV.1019, a violin work played on the gamba, is also a masterpiece that makes one wonder if this instrument was intended from the beginning. The interpretation of the BWV.1019 sonata on the gamba is so natural that it makes one wonder if the instrument was originally intended for this work. Naxos Japan