Bach, J S: Oboe Concerto in F major, BWV1053

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.

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.

Donath, Speiser, Jochims, Stämpfli, Rilling – great names of the German Bach reception. Also Helmut Winschermann was famous for his Bach interpretation; here he comes with a fine arrangement together with Rilling conducting one of the most beloved mundane cantatas.

Includes Bonus DVD.

Diana’s vision for this project was to record the Bach concertos with single line strings, one to a part, recorded on modern instruments with gut strings and Baroque bows. Single strings allow these sublime works an enhanced sense of dialogue and collaboration. Diana studied in Zürich with Thomas Indermuhle. The bonus DVD gives a behind-the-scenes look at the recording process of the album.

“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