Bach, J S: Oboe d'amore Concerto in A major, BWV1055

In addition to recording the Bach Violin Concertos with Henryk Szeryng, Neville Marriner and the Academy also recorded two LPs of arrangements (made by Christopher Hogwood) of harpsichord concertos. These colourful arrangements are for oboe, flute and violin in various combinations. They were issued originally on two Argo LPs to great critical acclaim and are here reissued collectively on a 2CD set for the first time in celebration of the Academy’s 50th anniversary this year, these recordings are reissued as part of a series of reissues on Eloquence. Christopher Hogwood’s illuminating notes are included.

First collective reissue of a much-requested set of concertos on CD

A year-long Eloquence celebration of Marriner and the Academy’s recordings for Decca and Philips.

A new recording of Erik Bosgraaf, one of the most original, versatile and innovative recorder players of the moment, winner of the Borletti-Buitoni Trust.

The dynamic range and emotional impact of his playing is phenomenal.The instrument in his hands is like an extension of the human voice, speaking and articulating the musical language.

Previous recordings of Bosgraaf include Vivaldi Concertos, Handel sonatas and the Renaissance collection Des Fluyten Lusthof (by Van Eyck).

Although Bach clearly felt at home composing for the recorder, featuring it in major works including the Brandenburg Concertos and several cantatas, he never composed a concerto for solo recorder – in fact, he only wrote original solo concertos for harpsichord and violin. However, an examination of Bach’s compositional practices reveals that it was customary during his era to adapt or reuse musical material in new compositions. Taking this into consideration, the creators of this recording have drawn on a range of sources to answer the question of how a solo recorder concerto by Bach might have sounded. The disc includes four full recorder concertos, based on material taken from existing harpsichord concertos and cantata movements, which Bach himself often reused or transcribed for different instrumentation. It closes with an organ prelude adapted for recorder and strings.

The recordings are accompanied by extensive booklet notes, which outline the sources used in the construction of this repertoire and reveal an interesting dimension of Bach’s compositional practice – his approach to reusing and adapting musical material. These recordings are brought to life by compelling performances from Erik Bosgraaf and Ensemble Cordevento, performed on a range of recorders and period instruments. Displaying an imaginative yet thorough approach to the repertoire, this disc is a fascinating examination of how Bach might have approached writing large-scale works for the recorder and is recommended to any listeners interested in his concertos.

Unique recorder adaptations of Bach’s concertos and cantata movements.

Performed on period instruments.

In-depth booklet notes.

Recording made in 2011.

This 2-CD set is a re-issue of two separate albums, the first being a collection of arias for soprano and oboe by J.S. Bach performed by Pauline Oostenrijk and her sister the soprano Nienke Oostenrijk, (previously available on Vanguard), and the second a performance by Pauline of concertos by J.S. Bach, and two of his sons J.C. Bach and C.P.E Bach. Both recordings feature the Amsterdam Sinfonietta and conductor (and well-known cellist) Jaap ter Linden.

In 1999 Pauline Oostenrijk received the Music Prize of The Netherlands, the highest State Award for classical music. She is a member of the Orlando Wind Quintet and the ensemble Nieuw Amsterdams Peil, and several composers have dedicated works to her, among them Louis Andriessen. Pauline Oostenrijk’s previous releases for Challenge Classics include a collection of 20th century pieces ‘Oboesession’ (CC72062), and a disc devoted to concertos by Vivaldi (CC72389).

Pauline Oostenrijk’s sister Nienke appears in opera roles as well as on the concert platform, and has performed throughout Europe but mostly in The Netherlands and Germany. She is also a much sought-after Lieder singer.

Ich hatte viel Bekümmernis is a magnificent account of Bach’s concertos and sinfonias for oboe with Holliger once again proving himself unrivalled as a player of the instrument.

Holliger’s albums of classical core repertoire have become infrequent, and this is his first such for ECM since his 1997 Zelenka recording.

The oboist’s superb performance also attests to his long artistic relationship with the Camerata Bern. Soloist and ensemble are in perfect accord and impeccable ECM sound renders every detail in the music crystal clear. Holliger also contributes liner notes in which he speaks of his abiding love of Bach’s work.

In many of J. S. Bach’s cantatas, passions and oratorios, the oboe – and its various relatives such as the oboe d’amore and oboe da caccia – plays a prominent role. Using it as his preferred obbligato instrument, Bach obviously cherished the versatility of the oboe and selected it to accompany arias that deal with grief and heavenly joys, repentance and pastoral calm. Researchers have for a long time thought that his keyboard concertos were originally composed for other instruments, and much evidence points to certain of them being intended for the oboe, or oboe d’amore. Four such works have been gathered here, together with the Adagio from the composer’s Easter Oratorio, in performances by Alexei Ogrintchouk, one of today’s outstanding oboists.

Champs Hill Records is proud to re-release this double-disc set of Bachʼs chamber concertos - including Brandenburg concertos 2, 4, and 5 - recorded in the intimate & refreshing atmosphere of the Music Room at Champs Hill.

These inspiring works are performed here by internationally recognised young soloists and chamber musicians the London Conchord Ensemble on modern instruments and with piano.

Daniel Pailthorpe has also arranged two of Bachʼs best known chorales - Sheep may safely graze, and Jesu, joy of Manʼs desiring; delightfully performed in this new chamber version.

Classic FM magazine described the sound as “refreshing” with Gramophone praising the “awareness of period style” and saying of the original Quartz release "... If you want stylish Bach orchestral music on modern instruments … this little Bach collection could be for you".

The London Conchord Ensemble have recently received great critical acclaim for their disc of French chamber music by Pierne, Durufle & Loeffler (CHRCD011), and Ludwig Thuille (CHRCD001/002), both on Champs Hill Records.

“Many listeners will recognize the distinctive sound of the oboe d’amore from having heard it in Bach’s B Minor Mass, St Matthew Passion, where it is used in pairs, or in Ravel’s Bolero. Hearing this instrument solo in these beautiful concerti may be a new experience for some. Telemann and Bach used the instrument brilliantly, requiring agile virtuosity in the fast movements and in the long lines of the heart-tugging slow movements, they made splendid show of the oboe d’amore’s uniquely plaintive timbre.” Thomas Stacy