 | No. 285 of the ongoing ITYWLTMT series of audio montages, which can be found in our archives at https://archive.org/details/pcast285 |
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I recall having discussed many times Johann Sebastian Bach’s penchant for reusing
his compositions, and setting them for different instrument combinations. Let’s
recall, for instance, the curious case of the keyboard concerto BWV 1052 (which
was featured in a podcast from last December) and again presented as part of a
Back to Bach montage from October 2013 in its violin setting. As is the case
for most of these concertos, it is left unclear which came first…
This week’s
montage of keyboard concertos revisits the remaining four concertos from that
October violin montage – including the pair of double concertos – and allowes
us to appreciate them in this alternate setting. The only “new” concerto is BWV
1053 which was (originally?) set for oboe and orchestra. Here is a YouTube
version of the concerto in that setting:
When it
comes to keyboard performance standards of Bach’s catalog, I have most often
provided works performed on “modern” instruments – Glenn Gould, Angela Hewitt,
Edwin Fischer and Jörg Demus are performers we’ve featured here and on our
Tuesday Blog. There is, however, an alternate school of performance – on
“period” instruments. The main defenders of that school would include Rosalind
Tureck, Ralph Kirkpatrick and today’s featured artist, Christophe Rousset. The
five works this week come from his concerto cycle with Christopher Hogwood and
the Academy of Ancient Music.
I think you will love this music too!
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