Sony PS3 SACD to ISO | DSD 1bit-2822,4kHz 2.0, 5.1 | 2xISO 6.34GB
EAC-RIP | FLAC-IMAGE, CUE, LOG | 2xCD 605MB
Classical | Label: ARTS | Catalog Number: 47715-6 | RAR 3% Rec.
The so-called Brandenburg Concertos are a collection of six instrumental works which Bach wrote during his time as Hofkapellmeister in Cothen. He dedicated them to Margrave Christian Ludwig of Brandenburg. Every single concerto is an interpretation for a variety of instrumentation. Through these works Bach portrays the progressive style of Italian instrumental interpretation, which he greatly admired.
ARTS Music now presents a beautiful recording of the Brandenburg Concertos Nos. 1 – 4, performed by the ensemble „I Barocchisti“, conducted by Diego Fasolis. Immerse yourself in this fantastic baroque interpretation and discover the incomparable repertoire of Bach’s instrumental music on Hybrid SACD in multichannel sound.
Brandenburg Concertos Nos. 1-4:
01. Brandenburg Concerto No. 1 in F Major BWV 1046 - 1. [Allegro] 03:27
02. Brandenburg Concerto No. 1 in F Major BWV 1046 - 2. Adagio 03:04
03. Brandenburg Concerto No. 1 in F Major BWV 1046 - 3. Allegro 03:38
04. Brandenburg Concerto No. 1 in F Major BWV 1046 - 4. Menuetto 00:57
05. Brandenburg Concerto No. 1 in F Major BWV 1046 - 5. Trio 01:09
06. Brandenburg Concerto No. 1 in F Major BWV 1046 - 6. Menuetto 00:29
07. Brandenburg Concerto No. 1 in F Major BWV 1046 - 7. Polonaise 01:15
08. Brandenburg Concerto No. 1 in F Major BWV 1046 - 8. Menuetto 00:31
09. Brandenburg Concerto No. 1 in F Major BWV 1046 - 9. Trio 01:09
10. Brandenburg Concerto No. 1 in F Major BWV 1046 - 10. Menuetto 01:12
11. Brandenburg Concerto No. 2 in F Major BWV 1047 - 1. [Allegro] 04:28
12. Brandenburg Concerto No. 2 in F Major BWV 1047 - 2. Adagio 03:13
13. Brandenburg Concerto No. 2 in F Major BWV 1047 - 3. Allegro 02:41
14. Brandenburg Concerto No. 3 in G Major BWV 1048 - 1. Allegro-Adagio 05:07
15. Brandenburg Concerto No. 3 in G Major BWV 1048 - 2. Allegro 04:24
16. Brandenburg Concerto No. 4 in G Major BWV 1049 - 1. [Allegro] 06:57
17. Brandenburg Concerto No. 4 in G Major BWV 1049 - 2. Andante 03:16
18. Brandenburg Concerto No. 4 in G Major BWV 1049 - 3. Presto 04:51
Brandenburg Concertos Nos. 5-6 and Triple Concerto:
01. Brandenburg Concerto No. 5 in D Major BWV 1050 - 1. Allegro 09:04
02. Brandenburg Concerto No. 5 in D Major BWV 1050 - 2. Affettuoso 05:01
03. Brandenburg Concerto No. 5 in D Major BWV 1050 - 3. Allegro 05:12
04. Brandenburg Concerto No. 6 in B flat Major BWV 1051 - 1. Allegro 05:16
05. Brandenburg Concerto No. 6 in B flat Major BWV 1051 - 2. Adagio ma non tanto 03:33
06. Brandenburg Concerto No. 6 in B flat Major BWV 1051 - 3. Allegro 05:45
07. Concerto in A Minor BWV 1044 "Triple Concerto" - 1. Allegro 07:57
08. Concerto in A Minor BWV 1044 "Triple Concerto" - 2. Adagio, ma non tanto e dolce 04:52
09. Concerto in A Minor BWV 1044 "Triple Concerto" - 3. Alla breve 07:50
Fasolis and I Barrochisti follow the scoring of the works to the letter, in terms of the solo instruments and the small ripieno orchestra which supports them.
Concerto 1 is a suite of dance movements, 10 of them which follow in quick succession, and feature a pair of natural or hand horns, typically used in hunting and not yet sporting the keys which the later French horns have. These horns are very difficult to play, as they are limited to notes of their harmonic series, but they have remarkably different sounds in different registers, unlike the modern horns which are "smoothed out" (more polite) in their tonal qualities. Bach, as other composers, including Mozart, relished these tonal changes, especially at parts of the register in which the tones were prone to "break" - much to the distress of the poor hornists! As well as the horns, there are 3 baroque oboes, a bassoon and a "violino piccolo" (obviously a small violin). Who else would pit these together? Fasolis and his men charge Bach's motoric rhythms with the spirit of the dance, the horns blaze magnificently from the centre back of the ripieno group, who sound to be arrayed in a semi-circle in front of you - no rear-channel gimmickry here. You can clearly hear that the two horns have different tone qualities, one deeper and richer, the other producing spectacular "blatting" sounds in its upper register. The piccolo violinist also produces some wonderful textures - dry spiccato effects on the gut strings and stunningly articulated running passages. There is wonderful solid support from the cellos and a double bass - indeed the characterful and clearly recorded bass lines in Fasolis' set is a prominent feature of the whole. Baroque music relied on terraced dynamics - the "invention" of crescendos by the orchestra at Mannheim was some years away. Listen how Bach screws up the tension and simulates a crescendo by adding more and more instruments, modulating rapidly and holding the melodic line over or under a pedal, which may itself in the treble or in the deep continuo. I Barrochisti are superb at doing this, with every line clear, and these held-back returns to main themes are thrilling.
pw: ivan
Thanks for this one! :)
ReplyDeleteThanks a lot.
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