1 LP - SAWT 9508-A - (p) 1967
1 CD - 8.41227 ZK - (c) 1984

Johann Sebastian Bach (1685-1750) - Violinkonzerte auf Originalinstrumenten

Konzert für zwei Violinen d-moll, BWV 1043
16' 31"
- Vivace 4' 12"
- Largo ma non tanto
7' 06"
- Allegro 5' 13"
Konzert für Violine E-dur, BWV 1042
17' 47"
- Allegro 8' 20"
- Adagio
6' 31"

- Allegro assai 2' 56"
Konzert für Violine a-moll, BWV 1041
14' 51"
- Allegro 4' 10"
- Andante
6' 29"
- Allegro assai 4' 12"

Alice Harnoncourt, Solo-Violine (BWV 1041-1043)

Walter Pfeiffer, Solo-Violine (BWV 1043)

CONCENTUS MUSICUS WIEN (mit Originalinstrumenten) / Nikolaus Harnoncourt, Leitung
- Peter Schoberwalter, Violine - Kurt Theiner, Viola
- Stefan Plott, Violine - Nikolaus Harnoncourt, Violoncello
- Walter Pfeiffer, Violine - Eduard Hruza, Violone
- Josef de Sordi, Violine - Herbert Tachezi, Cembalo
Luogo e data di registrazione
Vienna (Austria) - gennaio 1967
Registrazione live / studio
Producer / Engineer
Wolf Erichson
Prima Edizione CD
Teldec "Das Alte Werk" - 8.41227 ZK - (1 cd) - 49' 09" - (c) 1984 - AAD
Prima Edizione LP
Telefunken "Das Alte Werk" - SAWT 9508-A - (1 lp) - 49' 09" - (p) 1967

In the Concerto in D minor for two solo violins, the dialogue does not take place, as one might expect, between the solo instruments, but between both instruments and the orchestra. To make the music "speak" was one of the chief desires of composers and performers. The articulation of the semiquaver notes, as in the first movement of this concerto, must thus always be varied, far removed from the uniform "Bach stroke". - ln the slow movement the orchestra has only a continuo function. The two solo instruments vie with one another in their wonderful melody, while here again the great line may not inhibit the details of the phrasing. The present-day ideal of continuo sostenuto playing was foreign to the musicians of that time; each note had to "have its proper strength and weakness". Bach’s phrasing is meticulous in the extreme, and never to be understood as mere bowing marks but as specifically required articulation. - The old requirement "in each bar a different emotion" is very clearly realized in the third movement. In the middle of the hectic chase of the opening tutti there are two imploring interjections by the soloists which are brusquely rejected by the orchestra. The main motif of the solo violins is formed from these interjections. The orchestra adheres to the impetuous opening motif throughout the movement. Specifically prescribed springing types of bowing give rise to jazz-like shifts of accent. Extreme contrasts are the main feature of this movement.
The Concerto in E major is,in the relative weight of its movements, almost reminiscent of an ouverture-suite. In the broadly conceived first movement the orchestra carries the main part of the musical substance, whereas the solo is always of a dreamily improvisatory character. The Adagio cadenza of this movement is composed without a bass; the chords otherwise played here are from the harpsichord version of the concerto. There they make sense, since such a melody in a single part sounds senseless on the harpsichord, a chordal instrument; on the violin the empty, completely free descent particuarly underlines the spontaneous, improvisatory character ofthis part. - The slow movement is constructed on an ostinato bass. Here the soloist has the opportunity, as already in the first movement, for baroque rubato playing. In the accompanying string parts Bach uses the popular effect of the bow tremolo or bow vibrato; the orchestra accompanies the soloist in chords “with a pulsating hand in which the bow is held, in the manner of the Tremulant on the organs..." (Farina, 17th century). These weighty movements are followed by a light Rondo, in the episodes of which the solo part leads ever new transformations of arpeggio figures to a turbulent conclusion. In the two outer movements of the Concerto in A minor the thematic material of the introduction is given exclusively to the orchestra, while the solo passages are strongly contrasted to it in expression. In the accompaniment of some solo passages of the first movement, Bach again uses the bow vibrato described above. - In the slow movement, the basso ostinato is not played exactly in rhythm as noted down but, in accordance with the rules of the time, the demisemiquaver group is played somewhat late. The Finale acquires a dance-like character through the rhythm and forward-driving energy of the gigue.

Die Instrumente:
- Violine: Jacobus Stainer, Absam 1658
- Violine: Jacobus Stainer, Absam 1677
- Violine: Klotz Mittenwald, 18. Jh.
- Violine: Furber, London 1804
- Viola: Marcellus Hollmayr, Wien 17. Jh.
- Violoncello: Andrea Castagneri, Paris 1744
- Violone: Antony Stefan Posch, Wien 1729
- Cembalo: Kopie eines italienischen Kielflügels um 1700 von M. Skowroneck, Bremen 1957

Nikolaus Harnoncourt (1929-2016)
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