Soloistscologne Co - J.S. Bach: Four Concertos [CD]

Name: Soloistscologne Co - J.S. Bach: Four Concertos [CD]
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Johann Sebastian Bach (1685-1750)Multiple Concerti Among the works of JohannSebastian Bach it is the concertos that present the most intractable problems.The first list of works published by Carl Philip Emanuel Bach and JohannFriedrich Agricola in the Necrology merely numbers various concertos for one,two, three and four harpsichords, adding 'a quantity of other instrumentalworks of all kinds and for various instruments', presumably signifying allthe then available chamber and ensemble music of Bach. It is not known exactlywhy the ensemble music of Bach is so obviously neglected, while the clavier andorgan works are listed in detail. Perhaps it was that at Bach's death there wasso much available that more exact statements seemed too difficult. There is,however, the possibility that the second son of Bach certainly remembered verywell the manifold activity of his father as a composer and performer in thisfield, but found few traces of it in what he had left; the general listing ofensemble works was then the solution of a difficulty arising from thediscrepancy between his memory and the actual situation. It seems from thisthat at the time of Bach's death there were only actually in existence thefifteen concertos for harpsichord known today and the three concertos for oneor two violins. It must be borne in mind that Bachin his years as a chamber musician and later as concert-master to Duke WilhelmErnst and Duke Ernst August of Sachsen-Weimar from 1709 to 1717 and above allas Kapellmeister to Prince Leopold of Anhalt-Cothen from 1717 until 1723directed competent ensembles and was responsible for their repertoire. It is,therefore, astonishing that hardly anything can be traced of this output, sincethe concertos known today, apart from the Brandenburg Concertos, belongmainly to his period in Leipzig, from 1723 to 1750. This mustnot be taken as an indication of Bach's own self-critical distancing of himselffrom his earlier compositions, but alternatively may show that he hadcontracted to leave behind at his departure the compositions he had writtenduring his service at Weimar and at Cothen (as is similarly documented forGottfried Heinrich Stolzel and Georg Eenda and was at the time not at allunusual). Nevertheless Bach must have taken with him to Leipzig copies, perhaps the ideas ofhis compositions, since about 1740 he made from this material a series ofharpsichord concertos, falling back, seemingly without exception, on earlierworks for solo instruments. The Concerto in F major, BWV 1057,for harpsichord and two recorders should be known to most music-lovers in itsoriginal version as the Fourth Brandenburg Concerto. Bach made his transcription about 1739/40, for aperformance of his Leipzig Collegiufu musicum. For this transcription he leftthe string parts largely untouched and kept the sound quality of the originalwith the two recorders. The solo violin part he transferred to the harpsichord,giving special attention to the transcriptio

Con in a, BWV 1044: Allegro - Andreas Spering/Felix Reimann/Ingeborg Scheerer

Con in a, BWV 1044: Adagio Ma Non Tanto E Dolce - Andreas Spering/Felix Reimann/Ingeborg Scheerer

Con in a, BWV 1044: Alla Breve - Andreas Spering/Felix Reimann/Ingeborg Scheerer

Con in F, BWV 1057: Allegro - Robert Hill/Nadja Schubert/Eva Morsbach

Con in F, BWV 1057: Andante - Robert Hill/Nadja Schubert/Eva Morsbach

Con in F, BWV 1057: Allegro Assai - Robert Hill/Nadja Schubert/Eva Morsbach

Con in d, BWV 1063: Allegro - Gerald Hambitzer/Andreas Spering/Christoph Anselm Noll

Con in d, BWV 1063: Alla Siciliana - Gerald Hambitzer/Andreas Spering/Christoph Anselm Noll

Con in d, BWV 1063: Allegro - Gerald Hambitzer/Andreas Spering/Christoph Anselm Noll

Con in D, BWV 1064: Allegro - Winifried Rademacher/Elisabeth Kufferath/Christine Pichlmeier

Con in D, BWV 1064: Adagio - Winifried Rademacher/Elisabeth Kufferath/Christine Pichlmeier

Con in D, BWV 1064: Allegro - Winifried Rademacher/Elisabeth Kufferath/Christine Pichlmeier

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Please Note Not All Our New Items Are Shrink Wrapped.All items shipped within 3 working days of payment.Johann Sebastian Bach (1685-1750)Multiple Concerti Among the works of JohannSebastian Bach it is the concertos that present the most intractable problems.The first list of works published by Carl Philip Emanuel Bach and JohannFriedrich Agricola in the Necrology merely numbers various concertos for one,two, three and four harpsichords, adding 'a quantity of other instrumentalworks of all kinds and for various instruments', presumably signifying allthe then available chamber and ensemble music of Bach. It is not known exactlywhy the ensemble music of Bach is so obviously neglected, while the clavier andorgan works are listed in detail. Perhaps it was that at Bach's death there wasso much available that more exact statements seemed too difficult. There is,however, the possibility that the second son of Bach certainly remembered verywell the manifold activity of his father as a composer and performer in thisfield, but found few traces of it in what he had left; the general listing ofensemble works was then the solution of a difficulty arising from thediscrepancy between his memory and the actual situation. It seems from thisthat at the time of Bach's death there were only actually in existence thefifteen concertos for harpsichord known today and the three concertos for oneor two violins. It must be borne in mind that Bachin his years as a chamber musician and later as concert-master to Duke WilhelmErnst and Duke Ernst August of Sachsen-Weimar from 1709 to 1717 and above allas Kapellmeister to Prince Leopold of Anhalt-Cothen from 1717 until 1723directed competent ensembles and was responsible for their repertoire. It is,therefore, astonishing that hardly anything can be traced of this output, sincethe concertos known today, apart from the Brandenburg Concertos, belongmainly to his period in Leipzig, from 1723 to 1750. This mustnot be taken as an indication of Bach's own self-critical distancing of himselffrom his earlier compositions, but alternatively may show that he hadcontracted to leave behind at his departure the compositions he had writtenduring his service at Weimar and at Cothen (as is similarly documented forGottfried Heinrich Stolzel and Georg Eenda and was at the time not at allunusual). Nevertheless Bach must have taken with him to Leipzig copies, perhaps the ideas ofhis compositions, since about 1740 he made from this material a series ofharpsichord concertos, falling back, seemingly without exception, on earlierworks for solo instruments. The Concerto in F major, BWV 1057,for harpsichord and two recorders should be known to most music-lovers in itsoriginal version as the Fourth Brandenburg Concerto. Bach made his transcription about 1739/40, for aperformance of his Leipzig Collegiufu musicum. For this transcription he leftthe string parts largely untouched and kept the sound quality of the originalwith the two recorders. The solo violin part he transferred to the harpsichord,giving special attention to the transcriptio