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BACH, J.S.: 8 SONATAS FOR DIVERSE INSTRUMENTS - The Aulos Ensemble

BACH, J.S.: 8 SONATAS FOR DIVERSE INSTRUMENTS - The Aulos Ensemble

Bach, as you haven't heard him. Arrangements of works possibly as Bach intended - they even looked at the erased bits.

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Trio Sonata for Two Flutes and Basso Continuo, BWV 1039: I. Adagio (arr. by The Aulos Ensemble, second flute part is performed on viola da gamba as written in Trio Sonata, BWV 1027)
3:32
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Trio Sonata for Two Flutes and Basso Continuo, BWV 1039: II. Allegro ma non presto (arr. by The Aulos Ensemble, second flute part is performed on viola da gamba as written in Trio Sonata, BWV 1027)
3:17
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Trio Sonata for Two Flutes and Basso Continuo, BWV 1039: III. Adagio e piano (arr. by The Aulos Ensemble, second flute part is performed on viola da gamba as written in Trio Sonata, BWV 1027)
2:14
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Trio Sonata for Two Flutes and Basso Continuo, BWV 1039: IV. Presto (arr. by The Aulos Ensemble, second flute part is performed on viola da gamba as written in Trio Sonata, BWV 1027)
2:54
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Violin Sonata in E Minor, BWV 1023: I. (Prelude)
1:10
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Violin Sonata in E Minor, BWV 1023: II. Adagio ma non tanto
2:43
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Violin Sonata in E Minor, BWV 1023: III. Allemande
3:42
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Violin Sonata in E Minor, BWV 1023: IV. Gigue
2:55
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Flute Sonata in B Minor, BWV 1030: (Andante) (Arr. by The Aulos Ensemble for Oboe and Harpsichord, originally written by J.S. Bach in G Minor)
7:06
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Flute Sonata in B Minor, BWV 1030: II. Siciliano (Arr. by The Aulos Ensemble for Oboe and Harpsichord, originally written by J.S. Bach in G Minor)
3:31
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Flute Sonata in B Minor, BWV 1030: III. Presto (Arr. by The Aulos Ensemble for Oboe and Harpsichord, originally written by J.S. Bach in G Minor)
5:52
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Trio Sonata in G Major, BWV 1038: I. Largo
3:00
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Trio Sonata in G Major, BWV 1038: II. Vivace
2:52
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Trio Sonata in G Major, BWV 1038: III. Adagio - Presto
1:21
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Musical Offering, BWV 1079 - Sonata sopr' il soggetto Reale a traversa, violino e continuo: I. Largo
6:06
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Musical Offering, BWV 1079 - Sonata sopr' il soggetto Reale a traversa, violino e continuo: II. Allegro
5:48
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Musical Offering, BWV 1079 - Sonata sopr' il soggetto Reale a traversa, violino e continuo: III. Andante
3:00
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Musical Offering, BWV 1079 - Sonata sopr' il soggetto Reale a traversa, violino e continuo: IV. Allegro
3:09
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Organ Sonata No. 4, BWV 528: I. Adagio - Vivace (Originally Composed as Cantata BWV 76: Sinfonia for Oboe d'Amore, Viola da Gamba, and Basso Continuo)
2:37
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Organ Sonata No. 4, BWV 528: II. Andante (arr. by The Aulos Ensemble for oboe d'amore, viola da gamba and continuo)
4:23
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Organ Sonata No. 4, BWV 528: III. Un poco allegro (arr. by The Aulos Ensemble for oboe d'amore, viola da gamba and continuo)
2:39
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Organ Sonata No. 1, BWV 525: I. Allegro (Arr. by The Aulos Ensemble for Flute, Violin, and Basso Continuo)
2:32
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Organ Sonata No. 1, BWV 525: II. Adagio (Arr. by The Aulos Ensemble for Flute, Violin, and Basso Continuo)
6:38
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Organ Sonata No. 1, BWV 525: III. Allegro (Arr. by The Aulos Ensemble for Flute, Violin, and Basso Continuo)
3:21
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Flute Sonata in E Minor, BWV 1034: I. Adagio ma non tanto
3:04
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Flute Sonata in E Minor, BWV 1034: II. Allegro
2:37
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Flute Sonata in E Minor, BWV 1034: III. Andante
3:21
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Flute Sonata in E Minor, BWV 1034: IV. Allegro
4:35
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The Aulos people have the instruments and they have the techniques (as they believe them to be). They, to coin a phrase, go for baroque. They, as the notes to one of their earlier records say, have "been spreading the word.'' So if you want your Bach as Bach supposedly heard it, here 'tis (sort of: see below). (If you want to duplicate the con­ditions under which Bach heard it, turn off your central heating, your water, and your electricity for starters.) But wait a mo'! I have sensed from the testiness of certain reviewers that Authenticity is beginning to run dry in some quarters. Now here comes Taruskin suggesting that something is missing. Getting as close as is possible to what the composer intended has its drawbacks. It turns the music into museum pieces--impeccably restored, beautifully mounted, cleaned to a luster, but museum pieces all the same. Bach was less respectful of his own work "Individual movements slipped in and out of conjunction; media were interchangeable and adaptable (even vocal to instrumental and vice versa); masses paraphrased cantatas and oratorios parodied bawdy ditties ... .It becomes clear that the status of a piece of written music was by no means as definitive in Bach's day as it is in ours." Do you sense where this is leading?
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Authenticity, to be really authentic is freedom. What Aulos has done here, is present most of these works as Bach (as far as we know) never wrote them. Admittedly they have not gone very far: they have something like the composer's sanction for what they have done. For example, the first selection is a sonata in G for flute, viola da gamba and harpsichord. Now the gamba sonata in that key has a counterpart in S. 1039, a sonata for two flutes and continuo. So why not combine them? Do you object? Aulos offers in defense a trio sonata in G for flute, violin and continuo. This is known to be "inauthentic," i.e. Bach didn't write all of it. What he did was take the continuo part from the Violin Sonata, S. 1021 and, as an exercise, have a pupil (probably his son Emanuel) construct other parts on it.
--David M. Greene, Musical Heritage Review
11/29/2024
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