Review - Bach & Abel CD
Early Music Newsletter 2020 posted by Neville Olliffe
CD Comment
Bach & Abel: Shaun Ng (viola da gamba) and Diana Weston (square piano & harpsichord). Sonatas by John Christian Bach & Carl Friedrich Abel. CD Wirripang, Wirr 104
What I looked forward to in this recording was hearing the c 1820s Broadwood square piano. This instrument, housed at St John’s College at Sydney University, is in remarkable condition. I had the opportunity of hearing it played a little while back but at the last minute, unfortunately wasn’t able to attend. Broadwood square pianos were a popular import during the first 60 years of the colony. Although many might still be in existence locally, few are in acceptable playable condition.
In this recording of three sonatas each by J C Bach (d 1782, youngest son of J S Bach) and Carl Abel (d 1787), the compositions date from the era where the piano was a popular and developing instrument. J C, known as the London Bach, wrote around 40 piano concertos. Abel, a German and player of bass viol, composed largely for viola da gamba with continuo. However, for all this attention to the square piano, one each of both the Bach and Abel sonatas that are performed employ harpsichord. Thus, not only can we compare the compositional styles – the solo instrument with continuo and the newer ‘duet’ style – we have comparison between the instruments.
In the disk’s opening work, the J C Bach Sonata in F Major (B 6b), the beginning allegro movement is arresting as the piano supplies a fresh, joyous attitude, quite infectious beside the regular harpsichord sound to which 18th century patrons were accustomed. The disk’s booklet points out a tone distinction between the top end, middle and base of the square piano, but what I also considered was the sound likeness between the lower end of the piano and bottom end of the gamba, the instruments similarity producing a rich bass, and then their tones diverging as one or the other ascends to the higher strings.
Returning to the F Major Sonata, the allegro is the longest movement on the disk – it is light, bright and one to be savoured. The rondeaux is similar but comfortably plodding and relaxed. This is my favourite sonata of the disk.
In Bach’s other piano sonata, F Major Sonata (B 15b), it is again noticeable that the parts for piano and gamba are well integrated. The work’s two allegrettos are pretty, the second being more energetic but short, and leaving the listener still hungry.
Bach’s remaining work, Sonata for Harpsichord and Gamba in G Major (B 4b), shows the harpsichord as producing a sound more crisp than the piano, and allowing the gamba space for appreciation of its characteristic sighing ability. In the work’s second movement, the delicate harpsichord and more serious gamba provide a lovely union. The introduction of a passage using the buff stop provides a reminder of the harpsichord’s alternative unique sound, its beauty and appeal.
In considering the three sonatas by Carl Abel, the first movement of each is an adagio. To our 20th and 21st century ears, sad or solemn introductions possibly don’t suit our expectations. Abel however does supply some very appealing music. The allegro of his Sonata in G Major for Viola da Gamba and Basso A2-52, is delightfully skipping, the gamba versatile and cello-like in its behaviour. Again, as with the Bach, the Broadwood piano noticeably delivers the same tone integration with the gamba at the bottom end. The vivace movements in both this sonata and the A2-53 are more relaxed than one might expect, but I find life and appeal in the allegros.
If I were to pit one composer against the other, J C Bach would have to come out the favourite. As for the Broadwood against harpsichord… well, for their day, I rate the instruments evenly but I think Bach has the better understanding of the piano and it is evident in these sonatas.
The performance by Diana and Shaun is most professional and delightful, comfortably illustrating the qualities of the instruments, the composers and the works themselves. Early 19th century Australians might well have been trying out their new Broadwood square pianos with music by these composers.
Definitely recommended!
Disk $20… available at: https:thoroughbass.com.au/products/bach-abel-cd/
From Jennifer Foong, reviewer for ClassikOn
REVIEW: Jennifer 24/8/20
The aptly named Bach and Abel CD released by 2 members of chamber group Thorough Bass, viola da gambist Shaun Ng and keyboardist Diana Weston, features sonatas, all in major keys, by German composers of the Classical period, Johann Christian Bach, the youngest son of JS Bach known as “the London Bach”, and Carl Friedrich Abel, whose father and grandfather were both respected musicians. Not only would JC Bach and CF Abel be close friends in London, collaborating for many years from 1765 for concerts where they took turns conducting and at which they mainly performed their own compositions, their respective fathers, JS Bach and Christian Ferdinand Abel, also a viola da gambist, were close friends in Cothen.
There are 6 works, 3 by each composer, and over 70 minutes in total on this generous recording performed on period instruments. Two of the Bach works are Sonatas for Piano e Forte and Viola da Gamba, Warb B 6b and Warb B 15b both in F major, while the other is for Harpsichord and Viola da Gamba, Warb B 4b, all consisting of 2 movements.
The Piano e Forte used here is a square or horizontal piano (actually rectangular in shape), manufactured around 1825 and based on the transportable, reliable, and very popular Zumpe model, which was shipped from the London House of Broadwood to St John’s College at Sydney University via Tasmania! Unlike the harpsichord, it offers an expressive cantabile style, enabling Bach to write down specific dynamics in his piano scores. On the other hand, unlike the modern piano, its dampers can only partially stop string vibration and the shallow action of its sustain pedal makes it ideal for executing ornaments clearly to minimise blurring of notes. In contrast, Abel’s works are for Viola da Gamba and Basso, each consisting of 3 movements, essentially slow, fast, fast. The square piano is used as the basso continuo in 2 of the 3 works. These works are cleverly alternated with those of JC Bach’s Keyboard Sonatas.
The disc starts with the engaging Bach Sonata in F for Piano e Forte and Viola da Gamba Warb B 6b from his 4 Sonatas for keyboard and viola da gamba. It highlights the warm clarity of the square piano with the first movement Allegro in sonata form and a rather sedate minuet-like Rondeaux second movement in rondo form. This is followed by Abel’s Sonata in G for Viola da Gamba and Basso A2:52 that includes a most elegant second movement Allegro and third movement Vivace. Bach’s lively Sonata in G for Harpsichord and Viola da Gamba Warb B 4b reminds listeners of the crisp clean sound of the plucked keyboard instrument. The first movement of Abel’s Sonata in A for Viola da Gamba and Basso A2:53 features a melodious subject played by the viola da gamba, ably accompanied by the rich mellow tones of the square piano. Bach’s Sonata in F for Piano e Forte and Viola da Gamba Warb B 15b consists of 2 Allegretto movements, though the second is more pastorale-like. The reflective Adagio opening of Abel’s Sonata in B flat for Viola da Gamba and Basso A2:54 CF precedes the elegant finish with a flourish where both Shaun and Diana, this time on harpsichord, display their virtuosic skills on their respective instruments.
I would recommend this unique CD to lovers of historically-informed chamber music performance.