Composer: Johann Sebastian Bach, Johann Gottfried Walther
Performer: Thüringer Bach Collegium
Format: FLAC (tracks)
Label: Audite
Catalogue: AUDITE97790
Release: 2021
Size: 1.35 GB
Recovery: +3%
Scan: yes
Bach: Concerto for 3 violins, strings & continuo in D major (reconstruction), BWV 1064R
01. I. (Allegro)
02. II. Adagio
03. III. Allegro
Walther: Concerto after Torelli in D minor, LV 138
04. I. Allegro
Bach: Concerto for Oboe, Violin and Strings BWV1060R
05. I. Allegro
06. II. Largo ovvero Adagio
07. III. Allegro
08. Bach: Organ Concerto in C major (after Johann Ernst), BWV595
Bach: Keyboard Concerto in G minor, BWV 983
09. I. — (Reconstructed by G. Süssmuth)
10 .II. Adagio (Reconstructed by G. Süssmuth)
11. III. Allegro (Reconstructed by G. Süssmuth)
Bach: Organ Concerto in G major (after Johann Ernst), BWV592
12. I. — (Arr. Of Johann Ernst [Prince of Weimar]’s Violin Concerto No. 8)
13. II. Grave (Arr. Of Johann Ernst [Prince of Weimar]’s Violin Concerto No. 8)
14. III. Presto (Arr. Of Johann Ernst [Prince of Weimar]’s Violin Concerto No. 8)
Bach: Concerto for Two Violins in D minor, BWV1043
15. I. Vivace
16. II. Largo ma non tanto
17. III. Allegro
It was a momentous encounter: around 1714, the Weimar court organist Johann Sebastian Bach came across Antonio Vivaldi’s opus 3 L’Estro armonico, hot off the press, and soon nothing would be the same for him musically. Bach eagerly appropriated the Venetian Red Priest’s modern concerto style. And true to the meaning of the word “concertare”, which in Italian means “to unite”, but in Latin means “to argue” or “to fight”, Bach rapidly entered into a competition, first with his Italian models and then with himself.
At the outset, he arranged Vivaldi’s violin concertos for his (main) instrument, the organ. But then he transferred Vivaldi’s principles into his own instrumental concerto style. The results were his immortal Köthen concertos for one to three solo instruments and orchestra, blending the concerto principle of structural tutti ritornellos and interspersed imaginative solo episodes with Bach’s unique polyphonic style – highly virtuosic works in which all participating instruments connect with one another at eye level, and also enter into fierce competition with each other.
All this can be heard on the third audite album of the Thüringer Bach Collegium: a good 70 minutes of competition for the best musical arguments, presented with irresistibly sparkling virtuosity.