Review

Johann Sebastian Bach
Gamba Sonatas BWV 1027-1029:

Arranged by Ralph Sauer


Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2007
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Solo Tenor Trombone - with piano

Essentially orphaned after the apparent demise of the gamba in the early 1700’s, and the harpsichord by that century’s end, these three sonatas have until recently been regarded as minor works. With the re-appearance of the instruments for which they were written, and a generation of virtuosi learned in the performance practices of the period, they can now more readily be appreciated as masterpieces.

They were composed separately during the 1730’s, and are markedly different in character; the first two, in G major and in D major, are sonatas da chiesa, 4 movements, slow-fast-slow-fast, in which the two protagonists are equal partners in a contrapuntal dialogue. The third, in G minor, is a trio-sonata in concerto style, with the gamba taking a more obviously soloistic role. Each of the three sonatas has approximately the same playing time of about 15 minutes, including repeats.

The first and second sonatas are transcribed in F major and C major respectively. The long flowing lines of the gamba part are quite demanding for the trombone, phrasing should be seamless, and good breath control is required; the technical demands of the second sonata are significant. The third sonata is transcribed in E minor. The first movement bears an obvious resemblance to the third Brandenburg Concerto; it is close, but not quite the same, and in a minor key, and this makes it more difficult to play than it might appear. This sonata requires considerable virtuosity, and there are few breaks for the soloist, none more than a couple of measures. The Adagio is the most extended single movement of the set, playing for approximately 6 minutes.

Tenor clef is used almost exclusively throughout and the majority of notes lie within the compass of the staff; ranges are F–a1 in Sonata 1, c–b1 in Sonata 2, E–b1 in Sonata 3. Some long notes have been omitted to provide a few measures of rest, and some passages have been written down an octave. Ornamentations comprise trills and upper mordents; turns and appoggiaturas have been written out in full. Few articulations are indicated and no dynamics are specified. 

An earlier edition of these works is available (Keith Brown, 1972); these transcriptions are in the original keys. In Sauer’s edition they are somewhat more accessible to the average player, but the inherent technical difficulties are still significant. These pieces are extremely valuable as study material, and for recital at advanced levels, being the only extended works by Bach currently available for trombone and piano.

-Keith Davies Jones
Winnipeg, Manitoba, Canada