On the program:
Prelude and Fugue in G, BWV 541 (trans. d'Albert) - Piers Lane, piano
Gamba Sonata in D, BWV 1028 - Steven Isserlis, cello; Richard Egarr, harpsichord
Cantata BWV 134 Ein Herz, das seinen Jesum lebend weiß (translation) - Daniel Taylor, alto; James Gilchrist, tenor; Monteverdi Choir and English Baroque Soloists, John Eliot Gardiner, conductor
Ich ruf' zu dir, Herr Jesu Christ, BWV 639 - Steven Isserlis, cello; Richard Egarr, harpsichord
Hear the complete interview with Steven Isserlis:
Episode transcript:
MUSIC – BWV 1028-3
<Bach_160403_isserlis_BB @ marker 1>
In: “It’s funny, we hadn’t spent that much time together, except, we’ve come together to rehearse …”
Out: “It was one of the most enjoyable recording sessions I’ve ever had.”
<bump @ marker 2>
<BKM @ marker 3>Cellist Steven Isserlis found a natural collaborator in harpsichordist Richard Egarr when they got together for this 2015 release of Bach’s sonatas for viola da gamba.
<bump @ marker 4>
<BKM @ marker 5> It’s not music we hear too often, but its sparkling brilliance shines through as much as anything Bach wrote.
<bump @ marker 6 >
<BKM @ marker 7> You’ll hear this sonata, as well as more from Steven Isserlis, coming up on The Bach Hour.
<bump @ marker 8, then fade music>
Hello, I'm Brian McCreath; welcome to The Bach Hour from Classical Radio Boston WCRB, a part of WGBH. You won’t find a more charming and intelligent presence on the concert stage these days that Steven Isserlis. And when he was in Boston for a concert at the Isabella Steward Gardner Museum, I couldn’t resist the opportunity to spend a little time talking with him about his recording of Bach’s gamba sonatas. That conversation - and, of course, the music itself - is just ahead. Also on the program today is the Cantata No. 134, a joyful work of thanks originally written for the Tuesday after Easter. You’ll find a translation of the Cantata 134 from Boston’s Emmanuel Music online at Classical WCRB dot org, where you can also hear this program on-demand. Again, that’s all at Classical WCRB dot org.
Before all of that, though, here is a Prelude and Fugue by Bach, transcribed by Eugen d’Albert and performed by pianist Piers Lane, here on The Bach Hour.
MUSIC – BWV 541
That’s pianist Piers Lane with a Prelude and Fugue in G major by Bach, transcribed for the piano by Eugen d’Albert.
The name Richard Egarr is familiar to many here in Boston through his work as a conductor with the Handel and Haydn Society. Less familiar locally, but quite well known internationally, is the name Steven Isserlis. But these two British musicians teamed up for the three sonatas Bach wrote for the viola da gamba, on a 2015 release that also includes sonatas by Handel and Scarlatti, both of whom were born in the same year as Bach.
When Steven Isserlis visited Boston to perform t the Isabella Stewart Gardner Museum, I had the chance to talk wtih him about this his recording with Egarr. And I asked him why the gamba sonatas aren’t as commonly played as Bach’s suites for solo cello.
<Bach_160403_isserlis_1>
In: “Well I think partly that the six cello suites is absolutely a unit …”
Out: “... how he just brings such perfection to everything he touches I don’t know.”
And here is that perfection, as played out in the third of the Gamba Sonatas. Steven Isserlis plays the cello, and the harpsichorist is Richard Egarr, here on The Bach Hour.
MUSIC – BWV 1028
This sonata in D major for viola da gamba by Bach is part of a recording by cellist Steven Isserlis and harpsichordist Richard Egarr. And you can hear much more of my conversation with Steven Isserlis on our podcast, The Answered Question. Just visit us online at Classical WCRB dot org, or subscribe in iTunes.
For the Tuesday after Easter in 1724, Bach went to his files and found a cantata he had written a few years earlier to celebrate New Year’s Day. The mood and character were so perfect for the expression of a believer’s echoing joy in the celebration of Resurrection that he hardly changed a note of the music.
The Cantata 134, Ein Herz, das seinem Jesum lebend weiss, or “A heart that knows its Jesus is living,” starts straight away with a recitative that begins with a tenor soloist, and which ends as a countertenor sings, “How a faithful spirit rejoices!”
And that establishes the dual-voice sound of this cantata, one in which a dialog in the middle recalls the Passion …
MUSIC
… and a duet after that brings the voices together to give thanks not only on behalf of an individual, but also for strengthening “the struggling Church.”
MUSIC
Remember, you’ll find a translation of this piece, from Boston’s Emmanuel Music, when you visit our web site, Classical WCRB dot org.
Here is a performance of the Cantata 134, featuring countertenor Daniel Taylor, and tenor James Gilchrist. John Eliot Gardiner leads the Monteverdi Choir and English Baroque Soloists, here on The Bach Hour.
MUSIC
The Cantata No. 134 by Bach, Ein Herz, das seinem Jesum lebend weiss, or “A heart that knows its Jesus is living,” in a performance featuring countertenor Daniel Taylor, tenor James Gilchrist, along with the Monteverdi Choir and English Baroque Soloists, all directed by John Eliot Gardiner.
Let’s take a few minutes to return to cellist Steven Isserlis and harpsichordist Richard Egarr. Their recording of gamba sonatas ends with a short chorale prelude Bach originally wrote for the organ. And when I asked Steven Isserlis why they included it, he was almost speechless. Almost.
MUSIC
The chorale prelude Ich ruf zu dir, Herr Jesu Christ, or “I call to you, Lord Jesus Christ,” originally written for organ by Bach, and performed almost on the spur of the moment, as you heard from the cellist, Steven Isserlis. He was joined by harpsichordist Richard Egarr. And remember, to hear the entire conversation with Steven Isserlis, visit our web site, Classical WCRB dot org. Just look for our podcast, The Answered Question. And that’s also where you can hear this program again on-demand. Again, it’s all at Classical WCRB dot org.
I’d like to thank Steven Isserlis for his time, and thanks also to the staff of the Isabella Stewart Gardner Museum, one of the lynchpins of Boston’s musical landscape. Thanks as well to audio engineer Antonio Oliart Ros, and thank you for joining me today. I’m Brian McCreath, and I’ll hope to have your company again next week here on The Bach Hour.