by Ben Hogwood
This joyful piece of music was written by Bach in Leipzig, in April 1725. It has four vocal soloists, who take on the parts of Mary Magdalene (alto), the ‘other’ Mary (soprano) and the apostles Simon Peter (tenor) and John (bass).
The brightly scored orchestra consists of trumpets, timpani, wind and strings, and its celebratory air is perfect for the festival as it tells of the events of the first Easter day.
Published post no.2,849 – Monday 6 April 2026
by Ben Hogwood
Happy Easter! And with it, some more music by Bach for solo cello.
The Cello Suite no.6 in D major, BWV1012, is often paralleled with Easter Sunday and the Resurrection, its Sarabande in particular finding a serenity and light appropriate for the season. You can watch Yo-Yo Ma in the whole suite below:
Published post no.2,848 – Sunday 4 April 2026
by Ben Hogwood
The second instalment of Bach at Easter is dedicated to one of the great master’s finest sacred pieces, the St. John Passion – telling the story in dramatic tones, as recorded by the Bach Collegium Japan when lockdown was imminent in 2020. You can listen below:
Published post no.2,847 – Saturday 4 April 2026
by Ben Hogwood
Over this long Easter weekend, and with it recently being the anniversary of Johann Sebastian Bach‘s birthday, it feels appropriate to share four favourite pieces with you.
The first is the Cello Suite no.2 in D minor, BWV1008. The deeply profound Prelude to this suite is often associated with Good Friday and the Crucifixion, and is followed by the traditional sequence of dances where Bach’s masterful writing can be fully appreciated. Having been fortunate to play this piece, I can confirm the music gives as much satisfaction to the performer as it does to the listener!
You can enjoy a performance from Yo-Yo Ma, live at the BBC Proms in 2015, below:
Published post no.2,846 – Friday 3 April 2026
Piatti Quartet [Michael Trainor, Emily Holland (violins), Miguel Sobrinho (viola),
Jessie Ann Richardson (cello)]
Naresh Sohal
String Quartet no.1 ‘Chiaroscuro II’ (1976)
String Quartet no. 3 (2008)
String Quartet no.4 (2009)
String Quartet no. 5 (2010)
Toccata Classics TOCC0754 [74’33”]
Producer / Engineer Raphaël Mouterde
Recorded 17-19 April 2024 at St Silas’ Church, Kentish Town, London
Reviewed by Richard Whitehouse
What’s the story?
Toccata Classics continues its exploration of Naresh Sohal (1939-2018) with this release of four of his string quartets, admirably rendered by the Piatti Quartet to make an illuminating overview of Sohal’s musical language from across the greater part of his composing career.
What’s the music like?
Although he attracted most attention in his lifetime for his often expansive orchestral works, Sohal wrote widely for chamber media and not least string quartet. This medium brought his intended amalgam of Indian and European facets into acute focus though, typical of one who from the start approached the Western Tradition head on, there is nothing anecdotal let alone tokenistic about Sohal’s idiom which, as these quartets amply confirm, is unified stylistically and remains consistent as it heads toward the formal and expressive clarity of his final pieces.
At the time of his first quartet, Chiaroscuro II (its predecessor for brass quintet is on Heritage HTGCD122-3 – review to follow), Sohal was exploring an overtly avant-garde idiom evident through diverse and starkly contrasted techniques given focus by climactic cadenzas on cello then first violin – prior to its final evanescing into silence. Likewise in a single movement of 15 minutes, the Third Quartet could not be more different in aesthetic. Initially heard against an insistent drone from second violin and viola, its ideas emerge as demonstrable variants on what went before such that its animated central section then its inward continuation are made part of an indivisible process. This only makes those over-emphatic closing chords the more jarring, as though the work’s ultimate resolution had to be stated rather than just insinuated.
The remaining works, both with three movements and each lasting around 20 minutes, might be thought even closer to tradition yet, as so often with Sohal, matters are never this concrete. Thus the Fourth Quartet’s initial movement alternates its impetuous and ruminative themes to purposeful effect, then its central Moderato balances eloquence and introspection with a poise as makes this the likely highlight of the album; the final Allegro channelling motifs previously heard towards its satisfying denouement. The Fifth Quartet manipulates form and expression even more deftly, the Allegretto’s incisive yet never unyielding rhythmic verve duly matched by the Adagio’s melodic richness or the final Allegro’s contrapuntal dexterity on the way to a decisive close. Both of these pieces abound in quartet writing as unaffected as it is masterful.
Does it all work?
Indeed it does. Whether conceived as a single span or separate movements, the musical range of these pieces is a constant source of fascination. Even more surprising is that the Fourth and Fifth Quartets are only now receiving their first hearing, but it would be hard to imagine more committed advocacy than from the Piatti Quartet, which has taken this music to its collective heart. Hopefully these pieces will now find greater exposure in recital, as the importance of Sohal’s legacy becomes evident and its relevance to the present more widely acknowledged.
Is it recommended?
Indeed it is. Sound is almost ideal, while Utsyo Charraborty’s overview is complemented by a biographical note from Suddhaseel Sen and Janet Swinney. Hopefully the Second Quartet and the brief Awakening (soprano and string quartet) feature on a further release from this source.
Listen / Buy
You can hear excerpts from the album and explore purchase options at the Toccata Classics website. Click on the names to read more about the Piatti Quartet, and Naresh Sohal
Published post no.2,835 – Monday 23 March 2026
Arcana.fm 