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BACH: THE SIX TRIO SONATAS (arr. for guitar & harpsichord) - Eliot Fisk & Albert Fuller

BACH: THE SIX TRIO SONATAS (arr. for guitar & harpsichord) - Eliot Fisk & Albert Fuller

Arrangements by Eliot Fisk of Bach's Trio Sonatas. Gramophone Magazine wrote of these performances "Fisk plays with enormous warmth and commitment. His profound insight into the counterpoint brings out the beauty of the melodies and their inner dialogue with great ease in a way that has a disarming ability to sound so beautiful on the guitar."

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Trio Sonata In E-Flat Major, BWV 525: I. Presto
2:53
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Trio Sonata In E-Flat Major, BWV 525: II. Adagio
6:29
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Trio Sonata In E-Flat Major, BWV 525: III. Allegro
3:41
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Trio Sonata In C Minor, BWV 526: I. Vivace
3:57
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Trio Sonata In C Minor, BWV 526: II. Largo
3:10
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Trio Sonata In C Minor, BWV 526: III. Allegro
4:01
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Trio Sonata In D Minor, BWV 527: I. Andante
6:01
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Trio Sonata In D Minor, BWV 527: II. Adagio e Dolce
4:19
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Trio Sonata In D Minor, BWV 527: III. Vivace
4:12
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Trio Sonata In E Minor, BWV 528: I. Adagio - Vivace
2:46
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Trio Sonata In E Minor, BWV 528: II. Andante
5:03
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Trio Sonata In E Minor, BWV 528: III. Un Poco Allegro
2:48
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Trio Sonata In C Major, BWV 529: I. Allegro
4:40
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Trio Sonata In C Major, BWV 529: II. Largo
4:52
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Trio Sonata In C Major, BWV 529: III. Allegro
3:39
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Trio Sonata In G Major, BWV 530: I. Vivace
3:55
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Trio Sonata In G Major, BWV 530: II. Lente
5:46
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Trio Sonata In G Major, BWV 530: III. Allegro
3:33
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"Mann kann von ihrer Schonheit nicht genug sagen," ("One simply cannot say enough about their beauty") wrote Bach's first biographer Johann Nikolaus Forkel of the six organ Trio Sonatas BWV 525-530. Indeed, even within the pantheon of Bach's innumerable masterpieces these works seem to be among the greatest of the very great. In addition to the contrapuntal virtuosity and originality of the harmony Bach seems here to arrive at the loftiest spiritual plane -- every detail, every note is profoundly expressive and in perfect unity with the whole. I am privileged to join forces here with my great friend and mentor Albert Fuller, who has known these Sonatas over the course of a lifetime, and whose wisdom has been of inestimable value in the process of transforming these works conceived for the two manuals and pedal of the organ into a set of six Sonatas for guitar and harpsichord. Here the guitar plays the upper of the two organ keyboards while the harpsichord assumes the role of the second keyboard (right hand) and the pedal (left hand). Albert plays here on a harpsichord made by Tom and Barbara Wolf -- the nearest thing we have yet had to the sound of the German harpsichords of Bach's time.
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Some of the contrasts in character between the many movements of these six sonatas that are so easily achieved on the organ can easily be lost when they are separated from that instrument. Their perfection, both as music and as the study aids for Bach’s son that they were, requires complete equality in balance between the two manuals and pedals. The matching of plucked instruments in guitar and harpsichord may allow for this but it’s still not totally evenly balanced or together, so it’s hard to engage with these pieces without a reinforced bass-line to represent the organ pedal part. In these arrangements by Eliot Fisk and Albert Fuller there is not as much attention paid to the left hand of the harpsichord as there was in Julian Bream’s effective lute arrangements. This isn’t necessarily a bad thing – it just transports the listener very far away from what is really the true identity of these pieces and in the same way loses the masterful sense of total self containment that these pieces have. It’s fortunate, then, that the trio sonatas happen to work so well for guitar – Fisk plays with enormous warmth and commitment. His profound insight into the counterpoint brings out the beauty of the melodies and their inner dialogue with great ease in a way that has a disarming ability to sound so beautiful on the guitar.
GRAMOPHONE MAGAZINE
11/29/2024
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Eliot Fisk, guitar
Albert Fuller, harpsichord
Performers
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