J. S. Bach’s Sonatas for Viola da Gamba and Harpsichord BWV 1027–1029 (viola version): modern performance trends

Section 2. Ukrainian and World Musical Culture

Abstract

Statement of the problem. Johann Sebastian Bach’s music continues to be a source of deep creative searching for performers, scientists, and educators. The Sonatas for viola da gamba and harpsichord (BWV 1027–1029) constitute a unique layer of Baroque chamber music, combining musical and figurative richness, polyphonic depth, and genre diversity. “Bach’s work is an example of a synthesis of Renaissance polyphony, Protestant spirituality, and the most recent forms of musical thought for that time” (Dahlhaus, 1983). The interpretation of Bach’s works must be based on a deep understanding of the stylistics of the era, its semantics, and rhetorical models that reflect the “high musical erudition” (Varwig, 2008) of the Baroque performer. In the interpretation of these works on the viola, new artistic and technical possibilities are opened up, which, at the same time, poses a number of performance and stylistic tasks. “Awareness of the stylistic differences between the viola da gamba and the modern viola is the key to authentic interpretation” (Svyrydenko, 2017). The relevance of the study lies in the need to understand modern approaches to the performance of these sonatas, the correlation of the composer’s original idea with interpretative searches on another instrument – the viola. Within the historical context and the author’s intention, the analysis of performance means – articulation, ornamentation, strokes, and the use of vibration – acquires particular importance. Objectives, methods, and novelty of the research. The purpose of the study is to identify the main trends in the performance of J. S. Bach’s Sonatas for viola da gamba and harpsichord BWV 1027–1029 (in the viola version) against the background of authentic performance traditions of the Baroque era. The following tasks are set: to analyze the historical context of the creation of the Sonatas and determine their place in Bach’s chamber heritage; to identify the characteristic features of Baroque ornamentation and the methods of its implementation in Bach’s works; to consider the specifics of articulation and tempo fluctuations (agogique) in the context of the performance tradition of the 18th century; to identify the problems and possibilities of interpreting the Sonatas on the viola as an alternative instrument. The novelty of the study lies in the comprehensive analysis of modern trends in the performance of the Sonatas BWV 1027–1029 in the authentic and viola versions, which allows us to propose new approaches to their interpretation. Research results. The Sonatas for viola da gamba and harpsichord (BWV 1027–1029) are an example of new relationships in the ensemble, where the “solo” and “ensemble” are synthesized with a flexible flow of one function into the other. This is an example of a true chamber Duet in which both instruments interact as equal partners and each becomes the bearer of its own melodic-harmonic and, more broadly, form-forming functions. When performing gamba works on the viola, it is important to try to reproduce the general aesthetics of the sound – restrained, but also penetrating, clear and noble, remembering that it was to the viola da gamba that Baroque composers entrusted their most secret and subtle experiences. Bach’s Sonatas for viola da gamba and harpsichord are iconic examples of chamber music from the Baroque era, combining polyphonic perfection, expressive power, and sophisticated instrumental dialogue. Conclusion. Sonatas for viola da gamba and harpsichord (BWV 1027–1029) are not only evidence of J. S. Bach’s profound polyphonic mastery, but also a demonstration of his ability to adapt traditional forms to new musical contexts. Although these works are not officially designated as a cycle, their common instrumental palette, stylistic unity, and chronological proximity of creation allow them to be perceived as a coherent triptych. The viola interpretation of these sonatas opens up new horizons for performers and listeners. It allows modern musicians to experiment boldly, drawing on Baroque aesthetics and the variety of its expressive means. The modern viola, perfected over the past two centuries, reveals other expressive possibilities of this exquisite music. The timbre properties of the instrument and its technical potential in interpretation with the piano (as a modern analogue of the harpsichord) give this music a new sound, in which the depth, poetic expressiveness and mastery of the author shine in a relevant artistic dimension. A comparative analysis of modern versions with the author’s edition allows us to outline the range of performance tasks related to timbre adaptation, maintaining balance with the piano part, phrasing, ornamentation and articulation. The appeal to primary sources, Baroque treatises and historical records remains relevant, which contributes to a deeper understanding of the author’s intention. Thus, the viola version of Bach’s sonatas can be considered not as a compromise, but as a full fledged interpretation, capable of expanding the performance and pedagogical repertoire of modernity.