{"id":4462,"date":"2024-04-11T11:27:10","date_gmt":"2024-04-11T09:27:10","guid":{"rendered":"https:\/\/miguelbonal.com\/?p=4462"},"modified":"2024-04-23T18:29:09","modified_gmt":"2024-04-23T16:29:09","slug":"bach-corelli-y-marais","status":"publish","type":"post","link":"https:\/\/miguelbonal.com\/en\/bach-corelli-y-marais\/","title":{"rendered":"Bach, Corelli and Marais"},"content":{"rendered":"
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Bach, Corelli and Marais\n<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Miguel Bonal (viola da gamba) y Olivier Fortin (clave)<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Johann Sebastian Bach (1685 – 1750)<\/strong><\/p>

Sonata for viola da gamba in G Major BWV 1027 <\/i><\/p>

Adagio, Allegro ma non tanto, Andante, Allegro moderato<\/p>

Marin Marais (1656-1728)<\/strong><\/p>

Pi\u00e8ces de viole du Troisi\u00e8me Livre (1711) <\/i><\/p>

Suite in D Major <\/i>Pr\u00e9lude, Fantasie, Rondeau, Plainte, La Brillante<\/p>

Fran\u00e7ois Couperin (1668-1733)<\/strong><\/p>

Pi\u00e8ces de violes (1728) Deuxi\u00e8me Suite <\/i><\/p>

Pompe Funebre<\/p>

Arcangelo Corelli (1653-1713)<\/strong><\/p>

Sonata in G Major Op. 5 No. 6<\/i><\/p>

Grave, Allegro, Allegro, Adagio, Allegro<\/p>

Marin Marais (1656-1728)<\/strong> Pi\u00e8ces de viole du Cinqui\u00e8me Livre (1725) <\/i>Tombeau pour Marais le Cadet<\/p>

Johann Sebastian Bach (1685-1750)<\/strong><\/p>

Sonata for viola da gamba in D Major BWV 1028<\/i><\/p>

Adagio, Allegro, Andante, Allegro\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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This programme, structured cyclically around the sonatas for viola da gamba and harpsichord by J. S. Bach, reflects the importance of the instrument in the German and French Baroque, how it developed its own instrumental literature, very different from the performance of the viola da gamba as a basso continuo instrument. Also included is the sixth sonata from op. 5 by A. Corelli, one of the reference works of the Italian Baroque, and fundamental for understanding and studying the melodic ornamentation of the period, with its fresh and virtuosic writing.\u00a0<\/p>

The programme presented here could therefore be defined and structured around the following pillars: rhetoric and contrapuntal elaboration (Johann Sebastian Bach), refinement and timbral possibilities (Marin Marais and Fran\u00e7ois Couperin) and virtuosity and melodic ornamentation (Arcangelo Corelli). Although only the autograph sonata BWV 1027 survives, it is believed that Bach composed these three sonatas (BWV 1027, 1028 and 1029) in Leipzig between the 1730s and 1740s. Bach's unique and unrecognisable compositional style treats the viola da gamba with a wide range of colours, which, together with the harpsichord, allows us to glimpse a soundscape of extraordinary imagination.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Bach, Corelli y Marais Miguel Bonal (viola da gamba) y Olivier Fortin (clave) Johann Sebastian Bach (1685 – 1750) Sonata para viola da gamba en Sol Mayor BWV 1027 Adagio, […]<\/p>\n","protected":false},"author":1,"featured_media":4464,"comment_status":"open","ping_status":"open","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"_uag_custom_page_level_css":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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Corelli y Marais Miguel Bonal (viola da gamba) y Olivier Fortin (clave) Johann Sebastian Bach (1685 – 1750) Sonata para viola da gamba en Sol Mayor BWV 1027 Adagio, […]","_links":{"self":[{"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/posts\/4462","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/comments?post=4462"}],"version-history":[{"count":26,"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/posts\/4462\/revisions"}],"predecessor-version":[{"id":4741,"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/posts\/4462\/revisions\/4741"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/media\/4464"}],"wp:attachment":[{"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/media?parent=4462"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/categories?post=4462"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/miguelbonal.com\/en\/wp-json\/wp\/v2\/tags?post=4462"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}