Bach - Brandenburg Concertos (2009)

Bach

Academy of Ancient Music

Richard Egarr

Bach’s Brandenburg Concertos, like his ‘goldberg’ Variations, have become one of the most famous and popular collections of instrumental music. they are perhaps rivalled only by the first third of Vivaldi’s op.8, The Four Seasons. At the date of writing these notes, having entered ‘Bach Brandenburg concertos’ into a particular e-store’s search engine,?I was offered 463 ‘hits’. over the last fifty years, (since thurston dart’s 1954 recording, and Harnoncourt’s ‘first’ 1964 period- instrument recording) the desire to present the Brandenburgs in a newer, better and more historically ‘correct’ manner has increased rapidly. Brandenburg fever inspires great passion. And why not? these six concertos represent one of the glories of the instrumental repertoire. 
Each ‘new’ version seems to require justification, particularly those on period instruments. too much ink has been spilled because of this, and more and more heated (and sometimes irrelevant) debate over historical and instrumentation issues ensues. the Brandenburg story should be very familiar to the Reader.1 these concertos were presented in a fair-copy full score, dated 24 march 1721, to the margrave of Brandenburg. Using this simple fact as a point of discussion, here is a small sample of the debate:- the manuscript is presumed to have been a gift to stimulate Bach’s advancement with the margrave. there is no acknowledgement of receipt or thanks whatsoever from the margrave. the ‘job application’ seems thus to have failed. the manuscript remained in the margrave’s library, unloved and unplayed.

 

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Academy of Ancient Music

The Academy of Ancient Music (AAM) is one of the world’s first and foremost period-instrument orchestras. Concerts across six continents and over 250 recordings since its formation by Christopher Hogwood in 1973 demon- strate AAM’s pre-eminence in music of the Baroque and Classical periods. The AAM is Orchestra-in-Residence at the University of Cambridge.

AAM has made a number of celebrated recordings for harmonia mundi. Andrew Manze led the orchestra in Bach’s Solo and Double Violin Concertos, in a Vivaldi programme, Concert for the Prince of Poland, and in concerti grossi by Handel (the Op. 6) and Geminiani (after Corelli’s Op. 5). Paul Goodwin’s releases with AAM include a selec- tion of Christmas music by Schu?tz and his contemporaries, the Mozart singspiel Zaide, and two world premie?re record- ings of selected works by John Tavener: Eternity’s Sunrise and Total Eclipse.

In September 2006, Richard Egarr took up the post of Music Director, succeeding Hogwood who assumes the title of Emeritus Director. Egarr has already undertaken critical- ly-acclaimed work with the AAM including a USA tour and the recording of Bach’s Harpsichord Concertos. During his first season in the new role, Egarr will tour the UK, Europe and the USA, and continue AAM’s strong recording tradi- tion with a series of Handel recordings for harmonia mundi usa, beginning with this release of the Concerti grossi Op. 3.

Richard Egarr

Richard Egarr has worked with all types of keyboards: he has performed repertoire ranging from fifteenth-century organ intabulations, to Dussek, Schumann and Chopin on early pianos, to Berg and Maxwell Davies on modern piano. He is director of the Academy of the Begijnhof, Amsterdam, and is in great demand both as soloist and as accompanist for many of today’s finest artists. His collaboration with long-time duo partner Andrew Manze has been setting new performance standards since 1984.

As a conductor, Egarr has presented a wide range of repertoire – from Baroque opera and oratorio, to works by twentieth-century composers such as John Tavener and orchestral transcriptions by Stokowski. Recently named Music Director of the Academy of Ancient Music, he appears regularly with this and other ensembles: the Orchestra of the Age of En-lightenment, the Orchestra of the Paris Conservatory, the Dutch Radio Chamber Orchestra, the Vienna Chamber Orchestra, and the Chamber Orchestra of Europe.

Richard Egarr now records exclusively for harmonia mundi usa and has made five recordings of music by

J.S. Bach: the Harpsichord Concertos with Andrew Manze and the Academy of Ancient Music; the Gamba Sonatas with Jaap ter Linden; the Violin Sonatas with Manze and ter Linden; a critically acclaimed recital, “Per cembalo solo...” (Gramophone Editor’s Choice); and the Goldberg Variations, hailed as “a spectacular disc” by the London Times. His most recent solo recording is devoted to Mozart Fantasias and Rondos, performed on an 1805 fortepiano. Egarr’s recordings with Andrew Manze also include the violin sonatas of J.F. Rebel, Pandolfi (Gramophone Award, 2000), Handel (Billboard ® Top Classical Album), Corelli (Gramophone Recording of the Month; the Prix Caecilia, 2003), Biber’s Rosary Sonatas (Edison Award, 2005), and Mozart’s Violin Sonatas, dubbed “the most stimulating

and satisfying Mozart recording of the year” (Chicago Tribune).

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Bach - Brandenburg Concertos (2009)

Bach

Academy of Ancient Music

Mastering Engineer: Brad Michel
Producer: Robina G. Young
Recording Engineer: Brad Michel
Recording location: St. Jude's on the Hill, Hampstead Garden, London UK
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64

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HMU907461_62: Bach - Brandenburg Concertos
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Tracks.
1.
Concerto No. 1 in F Major, BWV 1046 - I. Allegro
Bach
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2.
Concerto No. 1 in F Major, BWV 1046 - II. Adagio
Bach
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3.
Concerto No. 1 in F Major, BWV 1046 - III. Allegro
Bach
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4.
Concerto No. 1 in F Major, BWV 1046 - IV. Menuet - Trio -Menuet - Poloinesse - Menuet - Trio - Menue
Bach
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5.
Concerto No. 2 in F Major, BWV 1047 - I. Allegro
Bach
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6.
Concerto No. 2 in F Major, BWV 1047 - II. Andante
Bach
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7.
Concerto No. 2 in F Major, BWV 1047 - III. Allegro Assai
Bach
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8.
Concerto No. 3 in G Major, BWV 1048 - I. Allegro - Adagio
Bach
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9.
Concerto No. 3 in G Major, BWV 1048 - II. Allegro
Bach
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10.
Concerto No. 4 in G Major, BWV 1049 - I. Allegro
Bach
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11.
Concerto No. 4 in G Major, BWV 1049 - II. Andante
Bach
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12.
Concerto No. 4 in G Major, BWV 1049 - III. Presto
Bach
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13.
Concerto No. 5 in D Major, BWV 1050 - I. Allegro
Bach
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14.
Concerto No. 5 in D Major, BWV 1050 - II. Affetuoso
Bach
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15.
Concerto No. 5 in D Major, BWV 1050 - III. Allegro
Bach
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16.
Concerto No. 6 in B-Flat Major, BWV 1051 - I. Allegro
Bach
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17.
Concerto No. 6 in B-Flat Major, BWV 1051 - II. Adagio ma non tanto
Bach
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18.
Concerto No. 6 in B-Flat Major, BWV 1051 - III. Allegro
Bach
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