Sirkka-Liisa Kaakinen-Pilch & Tuija Hakkila – Bach: Six Sonatas, BWV 1014-1019 (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:34:55 minutes | 988 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ondine
All but the last of Johann Sebastian Bach’s six sonatas for violin and harpsichord (BWV 1014–19) commence with slow movements of intense feeling. This is music of implication and inference, the emotions no less real for their apparent lack of specificity. There is pleasure in the paradox: even without a text, the music sings. The copying and the performance of these sonatas were crucial to the mission of memorialising Bach’s music, but not merely as a matter of historical interest or archival fastidiousness. C. P. E. Bach described these works as among the best works of his ‘dear departed father’: they still sound very good and give me much joy, although they date back more than fifty years. They contain some Adagios that could not be written in a more singable manner today.’ C. P. E. Bach’s well-worn copy of the Sonatas shows that he played them frequently. In this recording, Tuija Hakkila plays a copy of a Gottfried Silbermann 1747 fortepiano by Andrea Restelli. J. S. Bach played one of his fortepianos in 1747 in Potsdam for Frederick the Great and his court musicians. In his last years Bach even seems to have served as a dealer for Silbermann’s fortepianos in Leipzig.
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Tuija Hakkila – Haydn: 8 Early Sonatas (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 02:16:09 minutes | 1,22 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ondine
The current consensus is that there are about 60 surviving authentic Piano Sonatas by Haydn, while contemporary sources point to as many as 80. The earliest of these probably date from Haydn’s youth in the 1750s; the last one was completed in summer 1795. Some of the lost Sonatas are works that Haydn simply gave away as a young man, and they have never been heard of since. In mid-18th-century Vienna music was mainly distributed in the form of manuscript copies made by copyists. Haydn did not publish his first collection of six Sonatas until 1774. This was immediately reprinted elsewhere in Europe, and in London a version with violin accompaniment arranged by none other than Charles Burney was published. Of the Sonatas selected for this project, Haydn wrote all of these over a period of about 15 years before his 40th birthday. Hakkila has selected an Italian-style instrument for two Sonatas (E major and G minor), a copy of a Gottfried Silbermann fortepiano. J. S. Bach probably owned a Silbermann fortepiano. The hammer mechanism in the instrument resembles that of the early instruments of Italian instrument builders Bartolomeo Cristofori and Giovanni Ferrini. In six Sonatas (G major, A major, A flat major, D major, E minor and C minor) Hakkila uses her own original 1790s instrument, a five-octave Viennese fortepiano similar to the ones built by Anton Walter. The maker of this instrument is unknown, but it is known that it was sold to Finland in the early 19th century by the Bureau de Musique in Leipzig, a company owned by composer Franz Anton Hoffmeister, who was an acquaintance of Haydn’s
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