Luogo e data di registrazione		Vienna (Austria) - gennaio 1967 (Bach [Konzert]) Casino Zögernitz, Vienna (Austria) - ottobre 1976 e marzo 1977 (Vivaldi) Casino Zögernitz, Vienna (Austria) - marzo, giugno e settembre 1969 (Fux) Casino Zögernitz, Vienna (Austria) - marzo e giugno 1969 (Biber) Casino Zögernitz, Vienna (Austria) - febbraio 1978 (Bach [Kantate])
	Registrazione: live / studio		studio
	Producer		-
	Edizione LP		TELEFUNKEN - 6.42623 AP - (1 LP - durata 52' 44") - (p) 1967 / 1977 / 1978 / 1970 / 1969 / 1979 - Analogico
	Originale LP		TELEFUNKEN - SAWT 9508-A - (1 LP - durata 49' 09") - (p) 1967 - Analogico (Bach [Konzert]) TELEFUNKEN - 6.35386 EK - (2 LP's - durata 53' 42" & 52' 26") - (p) 1977 - Analogico (Vivaldi) TELEFUNKEN - 6.35451 EK - (2 LP's) - (p) 1978 - Analogico (Telemann) TELEFUNKEN - SAWT 9619-A - (1 LP - durata 47' 35") - (p) 1970 - Analogico (Fux) TELEFUNKEN - SAWT 9549-B - (1 LP - durata 52' 10") - (p) 1969 - Analogico (Biber) TELEFUNKEN - 6.35442 EX - (2 LP's - durata 34' 32" & 40' 55") - (p) 1979 - Analogico (Bach [Kantate])
	Prima Edizione CD		TELDEC - 8.41227 ZK - (1 CD - durata 49' 09") - (c) 1984 - AAD (Bach [Konzert]) TELDEC - 8.42985 ZK - (1 CD - durata 53' 42") - (c) 1984 - AAD (Vivaldi) TELDEC - 8.41271 XH - (1 CD - durata 47' 35") - (c) 1989 - ADD (Fux) TELDEC - 2564-69689-2 - (1 CD - durata 52' 10") - (c) 2008 - ADD (Biber) TELDEC - 8.44280 ZK - (1 CD - durata 76' 15") - (c) 1989 - ADD (Bach [Kantate])
	Note		Long playing compilation.

Bach's Concerto in E major is, in the relative weight of its movements, almost reminiscent of an overture-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 choral instrument; on the violin the empty, completely free descent particularly underlines the spontaneous, improvisatory character of this 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 then popular effect of the bow tremolo or bow vibrato. These weightly 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 Vivaldi's "La tempesta di Mare" the stormy sea is painted with its huge wawes rolling in from afar, building up with increasing closeness and continously, so to speak syncoptically, with foam-covered tips tumbling over each other (as from bar 53), ever closer and higher (as from bar 61). - The description is evidently intended to be continued in the second movement. At first a calmness, a general smoothing of the wawes, whose fading movement, however, can be clearly heard in the unison triads of the tutti. In the third movement bizarre accumulations of general pauses and unusually and cleverly disguised key changes provide the musical daring announced in the title of the overall work. Telemann's Duet in B-flat major (No. 4) for two melody instruments without throughbass was published 1728/29 in the music journal "Der Getreue Music-Meister". Telemann provided a choice of three different scoring possibilities for this sonata. In the Fux Rondeau à 7 a simple dance-like theme (that is played by all instruments eleven times with slight rhythmic and dynamic variation) forms a framework for the soli and duets of the violino piccolo. Heinrich I. F. Biber, one of the most interesting composers of the 17th century, was famous throughout Europe as a virtuoso of the violin. In his "Animal Sonata" the sounds of the nightingale, the cuckoo, the frog, the hen, the cock, the quail and the cat, and strangely enough a "Musketeer March" as well, are all imitated, incorporated within the framework of a violin sonata. The resultung work is lively, sparkling and spring like. In spite of the light-hearted, comical nature of the work Biber saw nothing out of place in dedicating it to "the greater glory of God, the Virgin Mary and Santa Cecilia." Obviously in baroque times even at an archbishop's court one's notions of the pleasures in the next world were firmly based on the delights of this one.