Insieme Strumentale di Roma, Giorgio Sasso - J.S. Bach: Concerto Reconstructions (2012)

Tracklist

01. Concerto in D Minor for Organ, Oboes, Strings and Continuo, BWV 1052, 146 & 188: I. Allegro
02. Concerto in D Minor for Organ, Oboes, Strings and Continuo, BWV 1052, 146 & 188: II. Adagio
03. Concerto in D Minor for Organ, Oboes, Strings and Continuo, BWV 1052, 146 & 188: III. Allegro
04. Concerto in D Minor for Harpsichord, Oboe, Strings and Continuo, BWV 35 & 1059: I. (Without Tempo Indication)
05. Concerto in D Minor for Harpsichord, Oboe, Strings and Continuo, BWV 35 & 1059: II. (Without Tempo Indication)
06. Concerto in D Minor for Harpsichord, Oboe, Strings and Continuo, BWV 35 & 1059: III. Presto
07. Concerto in G Major for Viola da braccio, Strings and Continuo, BWV 1055: I. Allegro
08. Concerto in G Major for Viola da braccio, Strings and Continuo, BWV 1055: II. Larghetto
09. Concerto in G Major for Viola da braccio, Strings and Continuo, BWV 1055: III. Allegro ma non tanto
10. Concerto in D Major for Three Violins, Two Oboes, Bassoon, Strings and Continuo, BWV 1064: I. Allegro
11. Concerto in D Major for Three Violins, Two Oboes, Bassoon, Strings and Continuo, BWV 1064: II. Adagio
12. Concerto in D Major for Three Violins, Two Oboes, Bassoon, Strings and Continuo, BWV 1064: III. Allegro



Like many musicians of his era, practical demands and obligations were placed on J.S. Bach on a daily basis, and on a number of occasions this resulted in the German composer reworking existing compositions for use in new contexts. However, although listeners may have encountered pairs of ‘double’ works that use the same musical material (often an instrumental version and a vocal version), there are a number of cases where it seems reasonable to assume that one version of the work has not survived.

For this new recording, Giorgio Sasso and Salvatore Carchiolo have taken this premise as their starting point. Based on the hypothesis that many of Bach’s extant harpsichord concertos are transcriptions of earlier violin concertos (which have been lost), they have ‘reconstructed’ four concertos, using an array of different sources and approaches. The artists’ superlative understanding of Bach’s instrumental music is apparent in the sensitive decisions that they have made. Following a practice of Bach’s own, Sasso and Carchiolo drew on musical material from his cantatas in the two Concertos in D minor. Likewise, the Concerto in G features solo instruments from different instrumental families, an unusual practice but one validated by their sources.

For each concerto, Sasso and Carchiolo have made individual choices in the face of numerous interpretative possibilities; the end result is a unique, exciting recording, which reveals fully the artists’ thorough research, careful study of the original scores, and sound knowledge of Bach’s compositional procedures.

DOWNLOAD ALBUM [flac]