Simon Borutzki, Lea Rahel Bader, Clemens Flick - Bach all'italiano (2016)
BAND/ARTIST: Simon Borutzki, Lea Rahel Bader, Clemens Flick
- Title: Bach all'italiano
- Year Of Release: 2016
- Label: Klanglogo
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:08:48
- Total Size: 350 mb
- WebSite: Album Preview
Tracklist
01. Keyboard Concerto in F Major, BWV 978 (After Vivaldi's RV 310): I. Allegro
02. Keyboard Concerto in F Major, BWV 978 (After Vivaldi's RV 310): II. Largo
03. Keyboard Concerto in F Major, BWV 978 (After Vivaldi's RV 310): III. Allegro
04. Organ Concerto in A Minor, BWV 593 (After Vivaldi's RV 522): I. Allegro
05. Organ Concerto in A Minor, BWV 593 (After Vivaldi's RV 522): II. Adagio
06. Organ Concerto in A Minor, BWV 593 (After Vivaldi's RV 522): III. Allegro
07. Keyboard Concerto in D Minor, BWV 974 (After A. Marcello's Oboe Concerto): I. Andante
08. Keyboard Concerto in D Minor, BWV 974 (After A. Marcello's Oboe Concerto): II. Adagio
09. Keyboard Concerto in D Minor, BWV 974 (After A. Marcello's Oboe Concerto): III. Presto
10. Italian Concerto in F Major, BWV 971 (Arr. for Recorder & Chamber Ensemble): I. Allegro
11. Italian Concerto in F Major, BWV 971 (Arr. for Recorder & Chamber Ensemble): II. Andante
12. Italian Concerto in F Major, BWV 971 (Arr. for Recorder & Chamber Ensemble): III. Presto
13. Keyboard Concerto in G Minor, BWV 975 (After Vivaldi's RV 316): I. Allegro
14. Keyboard Concerto in G Minor, BWV 975 (After Vivaldi's RV 316): II. Largo
15. Keyboard Concerto in G Minor, BWV 975 (After Vivaldi's RV 316): III. Giga. Presto
16. Keyboard Concerto in G Major, BWV 986 (Arr. for Recorder & Chamber Ensemble): I. Allegro
17. Keyboard Concerto in G Major, BWV 986 (Arr. for Recorder & Chamber Ensemble): II. Adagio
18. Keyboard Concerto in G Major, BWV 986 (Arr. for Recorder & Chamber Ensemble): III. Allegro
19. Keyboard Concerto in C Major, BWV 976 (After Vivaldi's RV 265): I. Allegro
20. Keyboard Concerto in C Major, BWV 976 (After Vivaldi's RV 265): II. Largo
21. Keyboard Concerto in C Major, BWV 976 (After Vivaldi's RV 265): III. Allegro
22. Keyboard Concerto in G Major, BWV 973 (After Vivaldi's RV 299): I. Allegro assai
23. Keyboard Concerto in G Major, BWV 973 (After Vivaldi's RV 299): II. Largo
24. Keyboard Concerto in G Major, BWV 973 (After Vivaldi's RV 299): III. Allegro
Johann Sebastian Bach most likely is the composer whose music has been arranged most commonly throughout history. However, it is a less known fact that Bach himself acted as an arranger of music from the hand of other composers. For instance, he skilfully transcribed the violin concertos of his Italian colleagues Allesandro Marcello (1673–1747) and Antonio Vivaldi (1678– 1741) for the harpsichord, in such a manner that both – the composer and the arranger – appear to meld into one congenial entity. For Bach all’Italiano, the recorder player Simon Borutzki examined these transcriptions and arranged a selection of them into concertos for recorder and continuo ensemble, which maintain their Italian sentiment and the German texture of Bach's renditions and at the same time enrich them with the unique tonal qualities of the various flutes. After all, as the music critic Johann Mattheson said in 1739: "Borrowing is a permissible thing; but you have to make the imitations in such a fashion that they obtain an appearance nicer and better than the movements they were borrowed from." With this intention, Simon Borutzki, by means of his eight concertos, offers a totally new and highly unique view of Bach's adaptation of the Italian style – entirely in the sense of baroque instrumentations typical of a concerto da camera.
01. Keyboard Concerto in F Major, BWV 978 (After Vivaldi's RV 310): I. Allegro
02. Keyboard Concerto in F Major, BWV 978 (After Vivaldi's RV 310): II. Largo
03. Keyboard Concerto in F Major, BWV 978 (After Vivaldi's RV 310): III. Allegro
04. Organ Concerto in A Minor, BWV 593 (After Vivaldi's RV 522): I. Allegro
05. Organ Concerto in A Minor, BWV 593 (After Vivaldi's RV 522): II. Adagio
06. Organ Concerto in A Minor, BWV 593 (After Vivaldi's RV 522): III. Allegro
07. Keyboard Concerto in D Minor, BWV 974 (After A. Marcello's Oboe Concerto): I. Andante
08. Keyboard Concerto in D Minor, BWV 974 (After A. Marcello's Oboe Concerto): II. Adagio
09. Keyboard Concerto in D Minor, BWV 974 (After A. Marcello's Oboe Concerto): III. Presto
10. Italian Concerto in F Major, BWV 971 (Arr. for Recorder & Chamber Ensemble): I. Allegro
11. Italian Concerto in F Major, BWV 971 (Arr. for Recorder & Chamber Ensemble): II. Andante
12. Italian Concerto in F Major, BWV 971 (Arr. for Recorder & Chamber Ensemble): III. Presto
13. Keyboard Concerto in G Minor, BWV 975 (After Vivaldi's RV 316): I. Allegro
14. Keyboard Concerto in G Minor, BWV 975 (After Vivaldi's RV 316): II. Largo
15. Keyboard Concerto in G Minor, BWV 975 (After Vivaldi's RV 316): III. Giga. Presto
16. Keyboard Concerto in G Major, BWV 986 (Arr. for Recorder & Chamber Ensemble): I. Allegro
17. Keyboard Concerto in G Major, BWV 986 (Arr. for Recorder & Chamber Ensemble): II. Adagio
18. Keyboard Concerto in G Major, BWV 986 (Arr. for Recorder & Chamber Ensemble): III. Allegro
19. Keyboard Concerto in C Major, BWV 976 (After Vivaldi's RV 265): I. Allegro
20. Keyboard Concerto in C Major, BWV 976 (After Vivaldi's RV 265): II. Largo
21. Keyboard Concerto in C Major, BWV 976 (After Vivaldi's RV 265): III. Allegro
22. Keyboard Concerto in G Major, BWV 973 (After Vivaldi's RV 299): I. Allegro assai
23. Keyboard Concerto in G Major, BWV 973 (After Vivaldi's RV 299): II. Largo
24. Keyboard Concerto in G Major, BWV 973 (After Vivaldi's RV 299): III. Allegro
Johann Sebastian Bach most likely is the composer whose music has been arranged most commonly throughout history. However, it is a less known fact that Bach himself acted as an arranger of music from the hand of other composers. For instance, he skilfully transcribed the violin concertos of his Italian colleagues Allesandro Marcello (1673–1747) and Antonio Vivaldi (1678– 1741) for the harpsichord, in such a manner that both – the composer and the arranger – appear to meld into one congenial entity. For Bach all’Italiano, the recorder player Simon Borutzki examined these transcriptions and arranged a selection of them into concertos for recorder and continuo ensemble, which maintain their Italian sentiment and the German texture of Bach's renditions and at the same time enrich them with the unique tonal qualities of the various flutes. After all, as the music critic Johann Mattheson said in 1739: "Borrowing is a permissible thing; but you have to make the imitations in such a fashion that they obtain an appearance nicer and better than the movements they were borrowed from." With this intention, Simon Borutzki, by means of his eight concertos, offers a totally new and highly unique view of Bach's adaptation of the Italian style – entirely in the sense of baroque instrumentations typical of a concerto da camera.
Year 2016 | Classical | FLAC / APE
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