J.S. Bach - Brandenburgische Konzerte 1-6 (DECCA) (GER 1983) (2xLP 24-96 & 16-44.1) [DMM]

Info:


J.S. Bach - Brandenburgische Konzerte 1,3,6

Orchestra: Stuttgarter Kammerorchester
Conductor: Karl Münchiger
Label: Decca
Cat#: 6.42857
Released: 1983 (originally released 1973)
Speciality: Direct Metal Mastering (DMM)

Tracklist:

A1 - Konzert 1 F-Dur BWV 1046 (22:22)
1: (Allegro)
2: Adagio
3: Allegro
4: Menuetto / Trio I / Menuetto / Polonaise / Menuetto / Trio II / Menuetto

B1 - Konzert 3 G-Dur BWV 1048 (11:10)
1: (Allegro)
2: (Adagio)
3: Allegro
B2 - Konzert 6 B-Dur BWV 1051 (18:27)
1: (Allegro)
2: Adagio man non troppo
3: Allegro

The Brandenburg concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as among the finest musical compositions of the Baroque era.

Brandenburg Concerto No. 1 in F major, BWV 1046

Title on autograph score: Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo.

1. Allegro
2. Adagio
3. Allegro
4. Menuet - Trio I - Menuet da capo - Polacca - Menuet da capo - Trio II - Menuet da capo

Instrumentation: two corni da caccia, three oboes, bassoon, violino piccolo, and two violins, viola, cello, and basso continuo

This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata Falsche Welt, dir trau ich nicht, BWV 52. The third movement was used as the opening chorus of cantata BWV 207.

Brandenburg Concerto No. 3 in G major, BWV 1048

Title on autograph score: Concerto 3zo a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo.

1. Allegro
2. Adagio
3. Allegro

Instrumentation: three violins, three violas, three cellos, and basso continuo (including harpsichord)

The second movement consists of a single measure with the two chords that make up a 'Phrygian half cadence' and—although there is no direct evidence to support it—it was likely that these chords are meant to surround or follow a cadenza improvised by a harpsichord or violin player. Modern performance approaches run a gamut from simply playing the cadence with minimal ornamentation (treating it as a sort of "musical semicolon"), to inserting movements from other works, to cadenzas varying in length from under a minute to over two minutes. Notably, Wendy Carlos's three electronic performances (from Switched-On Bach, Switched-On Brandenburgs, and Switched-On Bach 2000) have second movements that are completely different from each other.

Occasionally, the third movement from Bach's "Sonata for Violin and Continuo in G , BWV. 1021" (marked Largo) is substituted for the second movement as it contains an identical 'Phrygian cadence' as the closing chords. The Largo from the Violin Sonata in G, BWV 1019, has also been used. It has a flourish of different notes.

The outer movements use the ritornello form found in many instrumental and vocal works of the time. The first movement can also be found in reworked form as the sinfonia of the cantata BWV 174, "Ich liebe den Höchsten von ganzem Gemüte", with the addition of three oboes and two horns.

Brandenburg Concerto No. 6 in B flat major, BWV 1051

Title on autograph score: Concerto 6to à due Viole da Braccio, due Viole da Gamba, Violoncello, Violone e Cembalo.

1. Allegro
2. Adagio ma non troppo
3. Allegro

Instrumentation: two viole da braccio, two viole da gamba, cello, violone, and harpsichord

The absence of violins is unusual. Viola da braccio means the normal viola, and is used here to distinguish it from the "viola da gamba". When the work was written in 1721, the viola da gamba was already an old-fashioned instrument: the strong supposition that one viola da gamba part was taken by his employer, Prince Leopold, also points to a likely reason for the concerto's composition—Leopold wished to join his Kapellmeister playing music. Other theories speculate[who?] that, since the viola da braccio was typically played by a lower socioeconomic class (e.g., servants), the work sought to upend the musical status quo by giving an important role to a "lesser" instrument. This is supported by knowledge that Bach wished to end his tenure under Prince Leopold. By upsetting the balance of the musical roles, he would be released from his servitude as Kapellmeister and allowed to seek employ elsewhere.

The two violas start the first movement with a vigorous subject in close canon, and as the movement progresses, the other instruments are gradually drawn into the seemingly uninterrupted steady flow of melodic invention which shows the composer's mastery of polyphony. The two violas da gamba are silent in the second movement, leaving the texture of a trio sonata for two violas and continuo, although the cello has a decorated version of the continuo bass line. In the last movement, the spirit of the gigue underlies everything, as it did in the finale of the fifth concerto.

Karl Münchinger (May 29, 1915 – March 13, 1990) was a German conductor of European classical music. He helped to revive the now-ubiquitous Canon in D by Johann Pachelbel, through recording it with his Stuttgart Chamber Orchestra in 1960. (Jean-François Paillard made a rival, and also very popular, recording of the same piece at around the same time.) Münchinger is also noted for restoring baroque traditions to the interpretation of Bach's oeuvre, his greatest musical love: moderate-sized forces, judicious ornamentation, and rhythmic sprightliness, though not period instruments.

Born in Stuttgart, Münchinger studied at the Hochschule für Musik in his home city. At first, he guest-conducted often, supporting himself also with other duties as an organist and church choir director. In 1941, he became principal conductor of the Hanover Symphony, a post he held for the next two years. He held no other conducting position until the end of World War II.

The year that the war ended, he founded the Stuttgart Chamber Orchestra, which he built into an impressive touring ensemble; it made its Paris debut in 1949 and its American debut in San Francisco in 1953. Under his leadership the orchestra issued (for the Decca label) numerous recordings, mostly during the 1950s and 1960s, and mostly of Bach's output; these included the Brandenburg Concertos (three times), the orchestral suites, the St. Matthew Passion, the St. John Passion, the Musical Offering, and the Christmas Oratorio. Of his and the ensemble's non-Bach releases, probably the best – and certainly the most famous, other than the Pachelbel performance mentioned earlier – is that of Haydn's The Creation.

In 1977, the Stuttgart Chamber Orchestra became the first German ensemble to visit the People's Republic of China. Münchinger retired in 1988, two years before his death.

Stylistically Münchinger's approach with his band was rather similar to those of his somewhat younger contemporaries Raymond Leppard, Sir Neville Marriner, Claudio Scimone, and the above-mentioned Paillard, though displaying an extra element of tonal solidity (not to mention a fierce rigor during rehearsals as well as performances) which might be thought of as Teutonic. With the increased fashionability of 18th-century instruments, from the 1970s onwards, Münchinger's interpretations fell dramatically from critical favor and were often dismissed as passé. This was unfair, because he always showed himself to be a fine, tough, disciplined, and sensitive musician. There have been more profoundly imaginative German conductors than Münchinger, but there have been very few who matched his consistently high standards.

Links:
















Password:

finest-hq-audio












Info:

J.S. Bach - Brandenburgische Konzerte 2,4,5

Orchestra: Stuttgarter Kammerorchester
Conductor: Karl Münchiger
Label: Decca
Cat#: 6.42858
Released: 1983 (originally released 1973)
Speciality: Direct Metal Mastering (DMM)

Tracklist:

A1 - Konzert 2 F-Dur BWV 1047 (12:14)
1: (Allegro)
2: Andante
3: Allegro assai
A2 - Konzert 4 G-Dur BWV 1049 A (11:10
1: Allegro
2: Andante

B1 - Konzert 4 G-Dur BWV 1049 B (4:51)
3: Presto
B2 - Konzert 5 D-Dur BWV 1050 (21:17)
1: Allegro
2: Affetuoso
3: Allegro

The Brandenburg concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as among the finest musical compositions of the Baroque era.

Brandenburg Concerto No. 2 in F major, BWV 1047

Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino, concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.

1. Allegro
2. Andante
3. Allegro assai

Concertino: natural trumpet in F, recorder, oboe, violin

Ripieno: two violins, viola, violone, and basso continuo (including harpsichord)

The trumpet part is still considered one of the most difficult in the entire repertoire, and was originally written for a clarino specialist, almost certainly the court trumpeter in Köthen, Johann Ludwig Schreiber.[6] After clarino playing skills were lost in the eighteenth century and before the rise of the historically informed performance movement of the late twentieth century, the part was usually played on the valved trumpet.

The trumpet does not play in the second movement, as is common practice in baroque era concerti due to the construction of the natural trumpet, which allows it to play only in one key. Because concerti often move to a different key in the second movement, concerti that include a trumpet in their first movement and are from the period before the valved trumpet was commonly used, exclude the trumpet from the second movement.

This piece served as the theme song for William F. Buckley, Jr.'s Firing Line. It was also chosen as the first to be played on the "golden record", a phonograph record containing a broad sample of Earth's common sounds, languages, and music sent into outer space with the two Voyager probes.

Brandenburg Concerto No. 4 in G major, BWV 1049

Title on autograph score: Concerto 4ta à Violino Principale, due Fiauti d'Echo, due Violini, una Viola è Violone in Ripieno, Violoncello è Continuo.

1. Allegro
2. Andante
3. Presto

Concertino: violin and two recorders

Ripieno: two violins, viola, cello, violone and basso continuo

The violin part in this concerto is extremely virtuosic in the first and third movements. In the second movement, the violin provides a bass when the concertino group plays unaccompanied.

Bach adapted the 4th Brandenburg concerto as the last of his set of 6 harpsichord concertos, the concerto for harpsichord, two recorders and strings in F major, BWV 1057. As well as taking on most of the solo violin's role, the harpsichord also takes over some of the recorders' parts in the andante, plays a basso continuo role at times and occasionally adds a fourth contrapuntal part to an originally three-part texture (something which Bach occasionally did while improvising). The harpsichord concerto is thus more than a mere transcription.

Brandenburg Concerto No. 5 in D major, BWV 1050

Title on autograph score: Concerto Traversiere, une Violino principale, une Violino è una Viola in ripieno, Violoncello, Violone è Cembalo concertato.

1. Allegro
2. Affettuoso
3. Allegro

Concertino: harpsichord, violin, flute

Ripieno: violin, viola, cello, violone, (harpsichord)

The harpsichord is both a concertino and a ripieno instrument: in the concertino passages the part is obbligato; in the ripieno passages it has a figured bass part and plays continuo.

This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord), which Bach used on their own for the middle movement. It is believed that it was written in 1719, to show off a new harpsichord by Michael Mietke which Bach had brought back from Berlin for the Cöthen court. It is also thought that Bach wrote it for a competition at Dresden with the French composer and organist Louis Marchand; in the central movement, Bach uses one of Marchand's themes. Marchand fled before the competition could take place, apparently scared off in the face of Bach's great reputation for virtuosity and improvisation.

The concerto is well suited throughout to showing off the qualities of a fine harpsichord and the virtuosity of its player, but especially in the lengthy solo 'cadenza' to the first movement. It seems almost certain that Bach, considered a great organ and harpsichord virtuoso, was the harpsichord soloist at the premiere. Scholars have seen in this work the origins of the solo keyboard concerto as it is the first example of a concerto with a solo keyboard part.[8][9]

An earlier version, BWV 1050a, has innumerable small differences from its later cousin, but only two main ones: there is no part for cello, and there is a shorter and less elaborate (though harmonically remarkable) harpsichord cadenza in the first movement. (The cello part in BWV 1050, when it differs from the violone part, doubles the left hand of the harpsichord.)

Karl Münchinger (May 29, 1915 – March 13, 1990) was a German conductor of European classical music. He helped to revive the now-ubiquitous Canon in D by Johann Pachelbel, through recording it with his Stuttgart Chamber Orchestra in 1960. (Jean-François Paillard made a rival, and also very popular, recording of the same piece at around the same time.) Münchinger is also noted for restoring baroque traditions to the interpretation of Bach's oeuvre, his greatest musical love: moderate-sized forces, judicious ornamentation, and rhythmic sprightliness, though not period instruments.

Born in Stuttgart, Münchinger studied at the Hochschule für Musik in his home city. At first, he guest-conducted often, supporting himself also with other duties as an organist and church choir director. In 1941, he became principal conductor of the Hanover Symphony, a post he held for the next two years. He held no other conducting position until the end of World War II.

The year that the war ended, he founded the Stuttgart Chamber Orchestra, which he built into an impressive touring ensemble; it made its Paris debut in 1949 and its American debut in San Francisco in 1953. Under his leadership the orchestra issued (for the Decca label) numerous recordings, mostly during the 1950s and 1960s, and mostly of Bach's output; these included the Brandenburg Concertos (three times), the orchestral suites, the St. Matthew Passion, the St. John Passion, the Musical Offering, and the Christmas Oratorio. Of his and the ensemble's non-Bach releases, probably the best – and certainly the most famous, other than the Pachelbel performance mentioned earlier – is that of Haydn's The Creation.

In 1977, the Stuttgart Chamber Orchestra became the first German ensemble to visit the People's Republic of China. Münchinger retired in 1988, two years before his death.

Stylistically Münchinger's approach with his band was rather similar to those of his somewhat younger contemporaries Raymond Leppard, Sir Neville Marriner, Claudio Scimone, and the above-mentioned Paillard, though displaying an extra element of tonal solidity (not to mention a fierce rigor during rehearsals as well as performances) which might be thought of as Teutonic. With the increased fashionability of 18th-century instruments, from the 1970s onwards, Münchinger's interpretations fell dramatically from critical favor and were often dismissed as passé. This was unfair, because he always showed himself to be a fine, tough, disciplined, and sensitive musician. There have been more profoundly imaginative German conductors than Münchinger, but there have been very few who matched his consistently high standards.

Links:
















Password:

finest-hq-audio



Check my blog for other lossless uploads:

http://www.avaxhome.ws/blogs/luckburz