Johann Sebastian Bach’s Sei Solo for unaccompanied violin figure amongst the baroque works on which the performance traditions of the 19th and 20th centuries weigh most heavily. Rediscovered halfway through the 19th century after having been forgotten for more than a century, these works quickly entered the repertoire of works performed by violinists during the Romantic period: from that moment onwards, layer upon layer of performance glosses were imposed on these works, resulting in the monumental performances of them given by the great violinists of the 19th century. These influences have marked the Solo until today. A historically informed performance — or one that is at least the closest possible to how the work would originally have been performed according to the information that we currently possess — should therefore be tasked with removing these glosses; such additions, however, have been so frequently applied and taught that the majority of today’s violinists find great difficulty in removing them.
The musical styles of Europe always arrive a bit later in Spain, but with the avantage that they are transformed to full maturity. This cd shows a unique version of how a symphony by Haydn was transformed for a performance in the Cahedral of Sevilla. But the real interest are the till yet unrecorded masterpieces by Antonio Ripa and Joseph Barrera. As always Enrico Onofri ensures a top...
Lorenzo Ghielmi performs the Leipzich ChoralesBWV 651–668, which are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopaedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach...
Of all of the German composers of the time, Johann Sebastian Bach was the best of those who could imitate the styles of French and Italian composers; he forged his own personal style in so doing, and this style was destined to become a universal model. If we examine his compositions, we can clearly see which works are in the Italian style, such as the Toccatas, and those that are characteristic...
Diep berouw en het verlangen naar goddelijke verlossing zijn twee van de centrale thema's in de cantates van de Noord-Duitse barokcomponisten. Griet De Geyter en Il Gardellino selecteerden drie voorbeeldige werken uit het genre van Dieterich Buxtehude, Georg Philipp Telemann en Johann Sebastian Bach, met bijzondere nadruk op de duidelijk gedirigeerde stem en de frappante expressiviteit van de...
The concertos for oboe and strings Wq 164 and 165 are transcriptions of harpsichord concertos which Bach made in Berlin in 1765: they were very probably performed at a private concert at the court of Frederick the great, which counted a number of excellent oboist among its musicians, like Joachim Wilhelm Dobbert and Johann Christina Jacobi: Bach adapted the harpsichord scores particularly well...
Sebastian Bach composed many works for violin (besides the pieces for organ and harpsichord, the two instruments he mainly played). He had learned to play the violin as a child and knew its characteristics perfectly well. Unfortunately, the manuscripts of many of his compositions were lost after his death: the three sonatas for violin and basso continuo BWV 1021, 1023 and 1024 are today a small...
Symphonies of Bach’s Sons by the Controcorrente Orchestra: a new dynamic Italian Baroque Orchestra makes its debut with not mainstream symphonies! As they name indicates, they choose to swim against the current and explore hidden gems of the repertoire. But not only are they original, young and full of dynamic energy, but the result is also simply stunningly good and makes this music come alive...
