
The works, written in approximately 1720, are based on Vivaldi’s concerto model from the beginning of the 18th century, and – in the case of the D minor and G minor concertos – are reconstructions of the harpsichord concertos. Indeed, many of Bach’s concertos for harpsichord were in fact rearrangements of earlier instrumental works, and from the passagework in BWV 1052 and 1056 it is clear that the violin was originally the intended instrument. Together with rich-sounding dialogue that is a result of the contrast between the intricate solo passages and the slower-moving accompanying instruments, opportunities for virtuosic display abound in all of the works’ final movements, especially in the energetic Gigue of BWV1041.
Violinist Thomas Zehetmair studied at the Salzburg Mozarteum and made his festival debut at the Salzburg Festival aged just 16. He has since built up an impressive international career as a soloist, also performing with the Zehetmair Quartet, and is musical director of the Northern Sinfonia (UK) as well as guest conductor of several other major European orchestras. He is joined in the recording by the acclaimed Amsterdam Bach Soloists.
Other information:
Works:
• Bach, J S: Violin Concerto in D minor, BWV1052
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