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Johann Sebastian Bach (1685-1750)Concerto No.1 in F major BWV 1046Concerto No.2 in F major BWV 1047Concerto No.3 in G major BWV 1048

In 1717 Johann Sebastian Bach entered the service of the Prince of Anhalt-Cöthen. It was an appointment that was to prove highly fruitful, as, free from ecclesiastical duties and with an instrumental ensemble of about 17 players to hand; Bach took the opportunity to expand his instrumental output -- writing, among others, a collection of violin concertos.Also dating from this period are the Harpsichord Concertos, products of the composer's association with the Telemann Musical Society. Indeed, just as Handel is credited with the birth of the organ concerto, the harpsichord concerto owes its origins to J.S. Bach -- whose weekly appearances at the Society were an ideal forum in which to transcribe extant concerto movements for solo and multiple harpsichords. From the sunny disposition of BWV1053 to the dramatic interplay between solo parts in BWV1062, Bach effectively cultivated a new, heightened form of expression in all these works -- the majority of which are probably transcriptions of earlier (including lost) violin concertos by himself and others.Dedicated to the composer's complete works in the medium, this release celebrates the birth of one of the most important genres in music history. Christine Schornsheim, Pieter-Jan Belder and their harpsichord colleagues provide commanding readings, and are deftly supported by the Neues Bachisches Collegium Musicum and Musica Amphion; spanning 3 CDs and over three hours of performances, this recording represents compulsive listening for the harpsichord connoisseur and Baroque enthusiast alike.Other information:- Recordings made 1990 (CD1) & 1992 (CD2), Paul-Gerhardt-Kirche, Leipzig; May & June 2006, Schiedam/Leiden (CD3).- This release contains the solo concertos and the concertos for 2, 3 and 4 harpsichords.- Booklet notes included

We can?t be sure that Bach wrote any concertos specifically for the oboe aside from the C minor concerto BWV1060 ? in which it?s partnered by the violin in an exercise of pathos out of all proportion to the modest dimensions of the work itself. The other concertos here come down to us as harpsichord concertos, in which guise they do not sit entirely happily, and it seems more than likely that Bach, as both unhappy Kapellmeister of the Thomaskirche in Leipzig and far more content in his role supplying music, musicians and concerts to Zimmermann?s coffee house in the city, would have been glad to take advantage of the soloistic potential of a resident oboist to craft these Italianate concertos that exploit both the instrument?s origins in pastoral idiom (notably BWV1053, in the ?pastoral? key of F major, and its gently swaying siciliano middle movement in 6/8), as well as more urbane and learned counterpoint of which he was undisputed master among his peers.

Johann Sebastian Bach (1685-1750)Concertos for 3,3 & 4 harpsichordsConcerto for two harpsichords and strings in C minor BWV1060Concerto for two harpsichords and strings in C major BWV1061Concerto for two harpsichords and strings in C minor BWV1062Concerto for four harpsichords and strings in A minor BWV 1065Concerto for three harpsichords and strings in D minor BWV1063Concerto for three harpsichords and strings in C major BWV1064WykonawcyMusica AmphionPieter-Jan BelderMenno van DelftSiebe Henstra

? Nowe nagranie w wykonaniu Erika Bosgraafa, jednego z najbardziej oryginalnych, wszechstronnych i innowacyjnych współczesnych muzyków grających na flecie podłużnym, laureata nagrody Borletti-Buitoni Trust.? Bach nie zawsze podawał, na jaki instrument solo napisał dany koncert. Grano je więc na skrzypcach, obojach, klawesynach i innych instrumentach solowych, a Bosgraaf gra je oczywiście na flecie prostym, i to jak! Zakres dynamiczny i ładunek emocjonalny jego gry są fenomenalne. W jego rękach instrument ten staje się przedłużeniem ludzkiego głosu, biegle posługując się językiem muzyki.? Wśród poprzednich nagrań Bosgraafa znajdują się koncerty Vivaldiego, sonaty Händla i renesansowa kolekcja Des Fluyten Lusthof (Van Eycka).Choć Bach wyraźnie czuł się pewnie w komponowaniu na flet podłużny i wykorzystywał go w swoich największych dziełach, w tym w Koncertach Brandenburskich i licznych kantatach, nigdy nie napisał koncertu na flet podłużny solo ? oryginalne koncerty solowe napisał wyłącznie na klawesyn i skrzypce. Z badań nad praktykami kompozytorskimi Bacha wynika jednak, że w jego czasach przyjętym było dostosowywanie albo ponowne wykorzystywanie utworów muzycznych w nowych kompozycjach. Biorąc to pod uwagę, twórcy tego nagrania sięgnęli po cała paletę źródeł, by odpowiedzieć na pytanie, jak mógłby brzmieć koncert na flet prosty solo, gdyby Bach taki napisał.Płyta ta zawiera cztery pełne koncerty na flet prosty, oparte na materiale wziętym z istniejących koncertów na klawesyn i kantat, które sam Bach często wykorzystywał ponownie w różnych instrumentacjach. Kolekcję zamyka preludium organowe zaadaptowane na flet prosty i instrumenty smyczkowe. Nagraniom towarzyszy obszerna wkładka informacyjna, zawierająca m.in. listę źródeł wykorzystanych przy tworzeniu tego repertuaru i ujawniająca ciekawy aspekt praktyk kompozytorskich Bacha ? jego podejście do ponownego wykorzystywania i adaptowania utworów muzycznych.Dusza tych nagrań tkwi w ich wspaniałym wykonaniu przez Erika Bosgraafa i Ensemble Cordevento, na całej gamie fletów prostych i instrumentów z epoki. Pomysłowy i drobiazgowo opracowany repertuar sprawia, że płyta ta w fascynujący sposób ukazuje, jak Bach mógł był podejść do skomponowania obszernych dzieł na flet prosty i z pewnością przypadnie do gustu wszystkim słuchaczom zainteresowanych jego koncertami.

The great Johann Sebastian Bach grew up around violin music: his father Johann Ambrosius was an accomplished violinist. This influence is reflected in Sebastian's compositional output, which contains a large number of solo and ensemble works for the instrument -- including the concertos on this recording.The works, written in approximately 1720, are based on Vivaldi's concerto model from the beginning of the 18th century, and -- in the case of the D minor and G minor concertos -- are reconstructions of the harpsichord concertos. Indeed, many of Bach's concertos for harpsichord were in fact rearrangements of earlier instrumental works, and from the passagework in BWV 1052 and 1056 it is clear that the violin was originally the intended instrument. Together with rich-sounding dialogue that is a result of the contrast between the intricate solo passages and the slower-moving accompanying instruments, opportunities for virtuosic display abound in all of the works' final movements, especially in the energetic Gigue of BWV1041.Violinist Thomas Zehetmair studied at the Salzburg Mozarteum and made his festival debut at the Salzburg Festival aged just 16. He has since built up an impressive international career as a soloist, also performing with the Zehetmair Quartet, and is musical director of the Northern Sinfonia (UK) as well as guest conductor of several other major European orchestras. He is joined in the recording by the acclaimed Amsterdam Bach Soloists.Other information:- Recorded in 1994 this recording of Bach's violin concertos has lost nothing of its freshness and sparkle. Thomas Zehetmair built, since his Salzburg Festival debut at the age of 16, an impressive international career as a travelling virtuoso playing with the world's most famous orchestras and conductors. His open and unconventional mind kindled his interest in the Historical Early Music Practice, and his interpretations of the baroque repertoire show a deep insight in the style, while never losing his innate musicality and "Spielfreude".- Zehetmair is joined by the Amsterdam Bach Soloists, an elite group drawn from principals of the Concertgebouw Orchestra, both sharing his interest in early music and his enthusiasm.- Liner Notes included.