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Bach - Sonate a 2 Clav. & Pedal. (Benjamin Alard)

Recorded 2008 | Released 2009

"An impressive display of musicianship in these didactic works for WF from JS. (...) What treasures they are! They are a set, not a cycle, and all follow the three-movement sonata da camera model, the three voices being treated absolutely equally in terms of contrapuntal importance. (...) Ornaments are never laboured, lines always "sing" and (Alard) allows suspensions to grow in the glorious acoustic of the church of St Louis-on-the-Island in Paris. This gem of a recording deserves to rank highly against some stiff opposition. The production values are first-rate." (Gramophone)

Personnel:

Benjamin Alard: organ

Recording:

November 2008, Aubertin organ of Saint-Louis en l'Île, Paris

Alpha 152

Track listing:

1. Trio Sonata No. 1 in E flat major, BWV 525 (BC J1): -

2. Trio Sonata No. 1 in E flat major, BWV 525 (BC J1): Adagio

3. Trio Sonata No. 1 in E flat major, BWV 525 (BC J1): Allegro

4. Trio Sonata No. 2 in C minor, BWV 526 (BC J2): Vivace

5. Trio Sonata No. 2 in C minor, BWV 526 (BC J2): Largo

6. Trio Sonata No. 2 in C minor, BWV 526 (BC J2): Allegro

7. Trio Sonata No. 3 in D minor, BWV 527 (BC J3): Andante

8. Trio Sonata No. 3 in D minor, BWV 527 (BC J3): Adagio e dolce

9. Trio Sonata No. 3 in D minor, BWV 527 (BC J3): Vivace

10. Trio Sonata No. 4 in E minor, BWV 528 (BC J4): Adagio - Vivace

11. Trio Sonata No. 4 in E minor, BWV 528 (BC J4): Andante

12. Trio Sonata No. 4 in E minor, BWV 528 (BC J4): Un poco allegro

13. Trio Sonata No. 5 in C major, BWV 529 (BC J5): Allegro

14. Trio Sonata No. 5 in C major, BWV 529 (BC J5): Largo

15. Trio Sonata No. 5 in C major, BWV 529 (BC J5): Allegro

16. Trio Sonata No. 6 in G major, BWV 530 (BC J6): Vivace

17. Trio Sonata No. 6 in G major, BWV 530 (BC J6): Lento

18. Trio Sonata No. 6 in G major, BWV 530 (BC J6): Allegro

Reviews:

Gramophone

"An impressive display of musicianship in these didactic works for WF from JS"

Dating (in their final form) from the 1730s, Bach's half a dozen Sonate a 2 Clay & Pedal were designed as teaching pieces for his eldest son, Wilhelm Friedemann (then aged 15), following the (hands only) two-part Inventions and three-part Sinfonias. They have remained an essential didactic tool in the training of organists since their first publication in 1844.

What treasures they are! They are a set, not a cycle, and all follow the three-movement sonata da camera model, the three voices being treated absolutely equally in terms of contrapuntal importance. In general terms Alard favours sturdy and steady first movements with warm pedal tone including 16ft pitch. In fact the suboctave is only dropped in two out of the 16 movements. The slow movements are invariably treated with a glowing lyricism, the solo registers of the 51-stop Aubertin organ being displayed in full. The finales have plenty of bounce and rhythmic momentum. I noted just one tiny smudged mordent in the finale of the last Sonata; otherwise all is textually correct and above board. In addition to total mastery of the notes (in itself a major achievement) I greatly enjoyed Alard's approach to articulation. Ornaments are never laboured, lines always "sing" and he allows suspensions to grow in the glorious acoustic of the church of St Louis-onthe-Island in Paris.

This gem of a recording deserves to rank highly against some stiff opposition. The production values are first-rate though the sumptuously illustrated booklet tells us nothing of the organist himself, which is an unfortunate omission!

classicalmusicsentinel.com "Essential Recording"

When listening to these organ masterpieces today, it is hard to believe that Johann Sebastian Bach actually composed them as organ study works for his eldest son Wilhelm Friedemann, who had already mastered the harpsichord by playing his father's Well-Tempered Clavier, and who now, at the age of 15, had to master the organ so as to be able to partake in the weekly Sunday Cantata performances, by playing the obbligato organ part. Wilhelm Friedemann eventually became a great organist, understandably so if these intricate Trio Sonatas formed the bulk of his studies.

The young organist Benjamin Alard not only demonstrates a natural musical ability, but also an acute sense of timbral contrasts assigned to each individual part. His choice of stops throughout the six different sonatas is always intelligent and in keeping with the style and nature of each individual movement. At the age of 24, he is already one of the leading figures of the new baroque generation. The instrument used in this recording is a Bernard Aubertin organ, built in 2005, in the Eglise Saint-Louis en l'île in Paris. The pipes speak with a pure, bright and yet mellow tone. It has 51 stops and its construction was influenced by the Silbermann and Hildebrandt schools of organ building. There are 8 stunning photographs of this beautiful new instrument inside the CD booklet and very informative text on both the music and the organ.

The recording was done in November of 2008, and captures the organ's clean sound beautifully, and lets the natural acoustics of the building play a part in the overall quality of the sonics. The label Alpha celebrates 10 years in 2009. Let's hope they are still around in 50 years!

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