In this episode of Ars Antigua Presents (11 minutes), we’re celebrating Bach’s birthday on March 31st with a recording of his Trio in G Major, BWV 1039. Johann Sebastian Bach’s appointment as Kapellmeister at the city of Cöthen was basically a happy one, because his patron, the Prince of Cöthen, was a true music lover with a voracious appetite for instrumental music. In this post Bach had at his disposal a small but outstanding ensemble of musicians, which he used to perform all manner of secular music. These intensely expressive and often technically demanding, yet intimate, works have the usual texture of Bach’s instrumental sonatas, with two upper parts supported by a bass part.

In this music from the BWV 1039 trio sonata, we’ll hear Anita Miller Rieder, flute, Pablo Mahave-Veglia, violoncello, and Andrew Fredel, harpsichord.

In 1772, the 16-year-old Mozart was living in Salzburg and penned a trio of light instrumental works called “divertimenti” – a form highly popular in the later 18th century. Though scored only for strings, these three works have sometimes been called the “Salzburg symphonies.” Today we’re going to hear one of these, which the young composer graced with strongly sentimental melodies and verve throughout. The initial allegro movement speaks richly in the sonata allegro form, followed by a lyrical andante. In the final presto, Mozart shows his wit and sense of humor with two very contrasting themes.

Last month we featured the “Annunciation” violin sonata of Heinrich Biber; this month we feature his instrumental music that reflects on sacred themes. The Mystery Sonatas, also known as the Rosary Sonatas, constitute one of the virtuoso high points of Baroque violin literature, and the opening passacaglia fully displays Biber’s contrapuntally daring and technically demanding style of writing. Never one to leave his faith far behind, Biber included a set of engravings with his manuscript that illustrated each piece; this passacaglia and its opening incipit depicts the Guardian Angel. Jin Kim performs this piece on violin on this month’s episode.

The 17th-century composer and violinist Heinrich Biber was born in Bohemia
and moved to Salzburg in 1670, where he flourished and was able to explore
his faith through music and composition. Brought up with a Jesuit
education, Biber frequently incorporated sacred themes into his instrumental works, including in his “Rosary” sonatas, compiled in those first years in Salzburg. Today we’ll hear the “Annunciation” sonata, which begins and ends with a rapid cascade of notes depicting the rustling of Archangel Gabriel’s wings as he descends from heaven to tell the Virgin she is to give birth to the son of God. In this performance, Bill Bauer is the violinist and Charles Metz the harpsichordist.

Program:

”The Annunciation” from the Rosary Sonatas – by
H.I.F. Biber (1644-1704), William Bauer, violin and Charles Metz
harpsichord

I. Preludium
II. Aria
III. Adagio
IV. Finale