Amazon.co.uk allows you to pay for your items in your local currency. Restrictions apply. Learn More. |
Frequently Bought Together
Product details
|
Track Listings
| 1. Concerto In D Minor For Two Violins (BWV 1043): I. Vivace |
| 2. Concerto In D Minor For Two Violins (BWV 1043): II. Largo ma non tanto |
| 3. Concerto In D Minor For Two Violins (BWV 1043): III. Allegro |
| 4. Concerto In A Minor For Violin (BWV 1041): I. (Allegro) |
| 5. Concerto In A Minor For Violin: II. Andante |
| 6. Concerto In A Minor For Violin (BWV 1041): III. Allegro assai |
| 7. Concerto In E Major For Violin (BWV 1042): I. Allegro |
| 8. Concerto In E Major For Violin (BWV 1042): II. Adagio |
| 9. Concerto In E Major For Violin: III. Allegro assai |
| 10. Concerto In D Minor For Two Violins (BWV 1060): I. Allegro |
| 11. Concerto In D Minor For Two Violins (BWV 1060): II. Adagio |
| 12. Concerto IN D M:inor For Two Violins: III. Allegro |
Product Description
Amazon.co.uk Review
It is well known that most of Bach's harpsichord concertos began their lives as violin concertos. Since only three violin originals survive--the ones designated as BWV 1041-43--and since these are among his greatest instrumental works, musical scholars and performers have been reversing the process, turning the harpsichord concertos back into violin originals. BWV 1060 is one such case, a concerto for two harpsichords, which sounds much less clangy and bangy in this reconstructed version for two violins. Now Andrew Manze is simply the finest baroque violinist alive, and so this recording is self-recommending on that count alone. It is just about perfect. --David Hurwitz
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Customer Reviews
Most Helpful Customer Reviews
8 of 8 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
No-one can be sure exactly how many violin concertos Bach wrote. His concerto output consists of several works written for certain instruments, then re-arranged for others. The established canon of his concertos for violin is limited to those in E and a for solo violin, and a concerto for two violins in d. This CD features another double concerto in d, more usually heard in one of two guises: for two harpsichords in c or for violin and oboe in d.
To begin with the last concerto. I suspect that Bach originally conceived this work for harpsichords (although, again, no-one can be entirely sure, with so many original manuscripts now lost). The dramatic statement that forms the succinct opening opposes orchestral ritornello with the briefest of responses from soloists. The intended contrast is intensified by having completely different timbres of strings and keyboard. What is clear, however, is that as well as being a fine Baroque soloist, Andrew Manze is something of a musicologist. His own accompanying notes show a keen interest in Bach scholarship and he defends his decision to transpose (or 'restore', as he would say) the work up to d for this version for two violins.
Manze's style is highly individual. Some of his chords sound remarkably rustic. He uses the minimum vibrato. Moreover, he is not afraid to decorate the solo concertos - a practice that may irritate as many listeners as it satisfies. He usually reserves these elaborations for recapitulations, however, and defends his embellishments on the basis of Bach's own practice elsewhere. These decorations range from the minimal grace notes at the end of the opening Allegro of BWV1043 to the more extensive interventions in the first Allegro of BWV1042. Conservatively-minded listeners may want to look elsewhere but I find his practices, although verging at times on the overdone, both satisfying and justified.
The Academy of Ancient Music provide a competent supporting role, if a somewhat pared down one, with two desks of violins each for 1st and 2nd fiddles, a pair of violas and cellos, double bass and harpsichord. There is no place for lutes or theorboes, therefore.
Manze is always worth listening to in word and deed, and nowhere more so than here in this recording of exceptional music.
To begin with the last concerto. I suspect that Bach originally conceived this work for harpsichords (although, again, no-one can be entirely sure, with so many original manuscripts now lost). The dramatic statement that forms the succinct opening opposes orchestral ritornello with the briefest of responses from soloists. The intended contrast is intensified by having completely different timbres of strings and keyboard. What is clear, however, is that as well as being a fine Baroque soloist, Andrew Manze is something of a musicologist. His own accompanying notes show a keen interest in Bach scholarship and he defends his decision to transpose (or 'restore', as he would say) the work up to d for this version for two violins.
Manze's style is highly individual. Some of his chords sound remarkably rustic. He uses the minimum vibrato. Moreover, he is not afraid to decorate the solo concertos - a practice that may irritate as many listeners as it satisfies. He usually reserves these elaborations for recapitulations, however, and defends his embellishments on the basis of Bach's own practice elsewhere. These decorations range from the minimal grace notes at the end of the opening Allegro of BWV1043 to the more extensive interventions in the first Allegro of BWV1042. Conservatively-minded listeners may want to look elsewhere but I find his practices, although verging at times on the overdone, both satisfying and justified.
The Academy of Ancient Music provide a competent supporting role, if a somewhat pared down one, with two desks of violins each for 1st and 2nd fiddles, a pair of violas and cellos, double bass and harpsichord. There is no place for lutes or theorboes, therefore.
Manze is always worth listening to in word and deed, and nowhere more so than here in this recording of exceptional music.
27 of 29 people found the following review helpful
Format:Audio CD
A while back I saw a TV broadcast of Manze and Podger playing the Bach Double at the Proms - absolutely riveting, not just for the wonder of the playing but for the zest and sheer pleasure they put into it. All of that is captured here - it's wonderful,imaginative playing, not just of that Concerto but everything on the disc, and where ornamentation is used, it is so natural that you don't just accept it but revel in it. This is remarkably good.
13 of 16 people found the following review helpful
Format:Audio CD
Andrew Manze and Rachel Podger give tremendously muscular, entertaining versions of these pieces. This is a great selection and incredible value. Good start for people unused to "period" playing, too. Buy it - you'll love it!
Would you like to see more reviews about this item?
Were these reviews helpful?
Let us know
Most Recent Customer Reviews
who are they racing?
I bought this disc on the strength of Rachel Podger playing in it but was disappointed. Some historically informed performances seem to be based on the principle "the faster the... Read more
Published on 24 Jan 2010 by R. Hakemulder
very enjoyable Bach
I've heard many versions of these works - including some that may appear to go "deeper" than these. But this is the disc I return to again and again. Read more
Published on 28 Mar 2009 by enthusiast
Music that one simply never tires of
I have been listening to Bach's violin concerti on and off for over 20 years. And, I simply never tire of them. Read more
Published on 12 Feb 2008 by Aquinas
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
What Other Items Do Customers Buy After Viewing This Item?
Listmania!
|
|
![VIRGIN classics [2]](http://ecx.images-amazon.com/images/I/515RhR0xAIL._AA60_.jpg)
Look for similar items by subject
Feedback
- Would you like to update product info or give feedback on images?
|
