Originally written for two cellos, the Sonata No. 10 in G Major by Jean-Baptiste Barrière (1707-1747) is a gem of the Baroque era, showcasing the cello’s emerging prominence in 18th-century France. While the cello had already replaced the viola da gamba in Italy, France was slower to embrace this versatile instrument. Barrière himself initially trained on the viol, a close relative of the cello, before becoming one of the earliest French cellists to champion its potential. His dedication not only elevated the cello’s status but also cemented his legacy as both a virtuoso and composer
More than any French composer before him, Barrière makes demands on the cello soloist in bold and sometimes even daring ways.”
Barrière’s compositions pushed the boundaries of cello technique, reflecting his bold approach to the instrument. As music scholar Mary Cyr observed, “More than any French composer before him, Barrière makes demands on the cello soloist in bold and sometimes even daring ways.” His sonatas, including this one, remain a testament to the instrument’s expressive and technical possibilities during its early development in France.
Barrière’s career flourished after he moved to Paris in 1731 and joined the prestigious Académie Royale de Musique. His extraordinary talent caught the attention of Louis XV, who granted him a rare lifelong privilege to publish his music—an honor typically limited to six years. This led to the publication of four books of cello sonatas, providing an invaluable repertoire for the instrument at a time when such works were scarce. Barrière’s virtuosity earned him acclaim across Europe, including a celebrated concert tour in Italy in 1738. Despite his success, his career waned after 1741, likely due to ill health, and he passed away at the age of 40.
The Sonata for Two Cellos exemplifies Barrière’s ability to blend French elegance with Italian virtuosity. In this vibrant work, the two cellos engage in a dynamic dialogue, sharing melodic lines and complementing each other with equal prominence.
The first movement, Andante, highlights the lyrical qualities of the instrument as the cellos trade melodies in a seamless interplay, while the second one, Adagio, features an ornamented, soulful duet rich in emotional depth. The finale, Allegro prestissimo, is a spirited display of virtuosity, with the cellos playfully racing through intricate passages before concluding in a resonant chord.
We present the adaptation of this sonata for cello and double bass by Jörg Baumann, with additional refinements to the cello part by Christophor Miroshnikov, continuing the tradition of exploring the cello’s versatility and charm.
