Luogo e data di registrazione		Cedernsaal, Schloß Kirchheim (Germany) - giugno 1975
	Registrazione: live / studio		studio
	Recording Supervision		Dr. Thomas Gallia | Paul Dery
	Engineer		Sonart, Milano
	Prima Edizione LP		Harmonia Mundi (Basf) | 20 22618-2 | 1 LP - durata 52' 28" | (p) 1975
	Edizione CD		Deutsche Harmonia Mundi | LC 0761 | 74321 32320 2 | 2 CDs - durata 51' 11" - 60' 08" | (c) 1995 | ADD/DDD
	Cover Art		"Frau am Cembalo" by Jan Miense Molenaer (1609-1668).
	Note		L'edizione in doppio CD contiene anche la pubblicazione del 1985 (1C 067-16 9525 1) ed il Preludio, Fuga e Allegro BWV 998 contenuto nella pubblicazione (HMS 30 868) del 1968.

The keyboard player has always had the pleasure of being to play by himself what others have to form an ensemble to play. And this is not only his pleasure but also his gride. And so, in addition to "original" pieces, the history of music is filled with a host of "arrangements": theyy range from transcriptions of popular vocal and instrumental pieces in the sixteenth century to piano scores of symphonies and operas in the ninetenth. When, as was often the case, a great composer turned his hand to making an arrangement, the result was a real keyboard work in its own right - indeed, a composer was not infrequently his own arranger (Byrd, Bach, Stravinsky, etc.)! What makes all these arrangements enjoyable even today is the undisturbed stylistic relationship between  the original and the arrangement. Many people are finding that the only arrangements which are not enjoyable are those whose idiom or sound is alien. In his earlier years, Bach set concerti by his contemporaries Vivaldi, Johann Ernst von Sachsen-Weimar, Marcello and Telemann for a keyboard instrument, and in later years he released his own exorbitantly difficult works for solo violin from their isolation by transferring them - in either improvised or notated form - to the keyboard. His pupil Agricola reports as late as 1773: "Their author himself played them frequently on the clavichord, and added as much harmony to them as he found mecessary". And Adlung observed in 1758: "[3 sonatas and 3 partitas] however are very suitable for playing on the clavier". Nowadays we have the complete A minor sonata in a keyboard version in his hand (at least I see non reason for believing that thoroughly Bachian piece to have been the work of a pupil). The organ version of the G minor fugue (complete with a new Praeludium) could similarly be his own work the bold arrangement of the first movement of the C major sonata should probably be asribed to one of his pupils (it may perhaps be the work of Altnikol), while the E major partita survives in a keyboard version made by a somewhat indifferent player. Bach himself arranged the first movement of this work as the introduction to Cantata No. 29 for organ obbligato with accompanying trumpets, timpani, oboes an strings. And how much more may have been lost? I think that Bach would have forgiven me for the fact that I have set myself to making arrangements of his works; whether he would have forgiven the way in which I have done it, remains of cours a moot point. There is at least a strong incentive in putting oneself to the test with the question of how far it is possible int a twentieth-century player to put himself back in thought and freeling into Bach's keyboard style. The deeper stimules to make these arrangements, of course, lies in the unique beauty of those works which we hear on the violin only too infrequently. I added only "such harmony as was necessary" and hope, with the harpsichord sound with which Bach was familiar, to have matched his idiom in such a way that no alien feeling is apparent. The transposition downwards by a fith (or a fourth) corresponds to Bach's own practice; in this way, the harpsichord keybiard's compass (GG-d") is fully and naturally exploited. Gustav Leonhardt