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The Trio Sonata in
18th-Century Germany
LONDON BAROQUE
GOLDBERG, Johann Gottlieb
(1727–56)
Trio sonata in C major
for two violins and b.c.
1
2
3
4
10'46
3'12
2'38
1'39
3'10
Adagio
Alla breve
Largo
Gigue
FASCH, Johann Friedrich
(1688–1758)
Trio Sonata in C minor
for two violins and b.c., FWV N:c2
5
6
7
8
9'48
2'26
2'10
2'24
2'45
Largo
Allegro un poco
Largo
Allegro
BACH, Johann Christoph Friedrich
(1732–95)
Trio sonata in F major
for two violins and b.c., W. VII/3
9
10
11
9'30
3'27
3'28
2'30
Allegro
Andante
Tempo di Minuetto
GRAUN, Johann Gottlieb
(1702–71)
Trio in B flat major
for violin, viola and b.c.
12
13
14
13'22
2'56
5'28
4'57
from
Musikalisches Vielerley,
Hamburg 1770
Adagio
Allegretto
Allegro non troppo
2
TELEMANN, Georg Philipp
(1681–1767)
Trio in G major
for violin, gamba and b.c., TWV 42:G10
15
16
17
18
8'49
2'23
1'59
2'11
2'11
Cantabile
Vivace
Affettuoso
Allegro
BACH, Carl Philipp Emanuel
(1714–88)
Trio sonata in B flat major
for two violins and b.c.
19
20
21
13'12
5'00
4'31
3'34
Wq 158 (H 584), from
Musikalisches Mancherley,
1763
Allegretto
Largo
Allegro
TT: 67'00
London Baroque
Ingrid Seifert
violin
Richard Gwilt
violin/ viola
[Graun]
Charles Medlam
cello/ viola da gamba
[Telemann]
Steven Devine
harpsichord
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N
o educated German, particularly in the Protestant north, could ignore
the fresh air of the Enlightenment blowing in from England and
France in the early years of the eighteenth century. English empiri-
cists like Hume and Newton, French rationalists and philosophers like Mon-
tesquieu, Voltaire and Diderot were busy questioning the structure of society,
man’s place in it, his relationship with God and even the very existence of
God himself. These were not welcome avenues of enquiry in the palaces of
churchmen and kings and would have been vigorously suppressed even a
couple of generations earlier. But the liberating power of knowledge was an
unstoppable force and, having glimpsed emancipation from church supersti-
tions and tyrannical régimes, citizens all over Europe were exploiting their
new-found intellectual and (in England at least) press freedoms and expressing
in print their vision of a rational world in which man and nature were sup-
planting God as the primary force. This was the new atmosphere in which the
music on this CD was composed. A conversational style, in which wise rhetori-
cians seem to be discussing matters of philosophical import with impeccable
grammar, is typical of the Berlin school to which several of the composers
represented here belonged. The contrapuntal cobwebs (as they would have
seen it) of previous generations have been replaced by a sunlit, airy style pre-
saging and preparing the classical perfections soon to come.
Johann Gottlieb Goldberg
was born in Danzig and as a teenager attracted
the attention of Hermann Carl von Keyserlingk, the Russian ambassador to
the court of Saxony, who became his patron. The fact that his trio sonata in C
major was attributed to J. S. Bach and included in the complete Bach Gesell-
schaft edition says much for his compositional skill, though in his day he was
more famous as a keyboard player. The story that Keyserlingk commissioned
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Bach to write a set of variations for Goldberg to play for him as a sleeping
draught – the ‘Goldberg Variations’ – is almost certainly apocryphal. In his
short life Goldberg wrote mostly keyboard and chamber music but a certain
number of church compositions also survive.
Born near Weimar in 1688,
Johann Friedrich Fasch
was a boy soprano at
St Thomas’s in Leipzig before applying for the post of director in 1722. He
was not offered the position and, after failing to secure the services of either
Graupner or Telemann, the town authorities had to settle for their third can-
didate, Johann Sebastian Bach. In spite of his job as
Kapellmeister
in provin-
cial Zerbst, Fasch was known throughout Germany. His friend Telemann, whom
he had met at Leipzig University, performed a cycle of his cantatas in Ham-
burg in 1733 and other works were given as far afield as Dresden and Vienna.
His son Karl Friedrich Christian was harpsichordist in Frederick the Great’s
orchestra at the same time as Emanuel Bach, who apparently much admired
Johann Friedrich’s works and transcribed several ouvertures for his own use. As
well as eighteen trio sonatas, Fasch composed some ninety ouvertures, sixty-
eight concertos, nineteen symphonies and twelve complete cantata cycles.
Johann Christoph Friedrich Bach
was the third of the four sons of J. S.
Bach who achieved fame as professional musicians. His mother was Anna
Magdalena. He spent most of his working life at Bückeburg near Hanover,
where Count Wilhelm held a small but highly cultured court. In 1778 Johann
Christoph Friedrich and his son Wilhelm Friedrich Ernst decided to visit his
younger brother Johann Christian in London, taking in a visit to Carl Philipp
Emanuel in Hamburg on the way. In London Johann Christoph Friedrich bought
a piano and became an admirer of Mozart. Many of his compositions have been
lost, but fortunately a manuscript copy of this wonderfully lyrical trio sonata
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