Luogo e data di registrazione		- Vienna (Austria) - marzo & aprile 1968 [4-7] - Bennebroek (Olanda) - dicembre 1967 [8-10]
	Registrazione: live / studio		studio
	Producer / Engineer		Wolf Erichson [4-7, 8-10]
	Prima Edizione LP		- Telefunken "Das Alte Werk" - SAWT 9411-B - (1 LP) - durata 45' 13" - (p) 1968 - Analogico [1-3] - Telefunken "Das Alte Werk" - SAWT 9536-A - (1 LP) - durata 42' 17" - (p) 1969 - Analogico [4-7] - Telefunken "Das Alte Werk" - SAWT 9552-B - (1 LP) - durata 40' 31" - (p) 1969 - Analogico [8-10] - Telefunken "Das Alte Werk" - SAWT 9443-B - (1 LP) - durata 49' 45" - (p) 1963 - Analogico [11-12]
	Edizione CD		Teldec - 4509-97473-2 - (1 CD) - durata 56' 18" - (c) 1995 - ADD
	Note		-

Many of Bach’s works are impossible to date with any accuracy but are attributed to a particular period on the basis of speculation and stylistic criteria. This already complex situation is further complicated by the fact that Bach frequently revised his works and rewrote them for other forces. The Harpsichord Concerto in F major BWV 1057, for example, is not an original work but started life as the fourth Brandenburg Concerto BWV 1049. Like his other harpsichord concertos (BWV 1052-8), Bach wrote it for the Leipzig concerts that he gave at Zimmermann's coffee-house with the local Collegium musicum, an instrumental ensemble made up of professional musicians and students. The Trio Sonata in G major BWV 1039 likewise survives in an alternative version for viola da gamba and harpsichord (BWV 1027) that may have been written at Cothen in 1720. It is generally believed that Bach’s so-called Triple Concerto BWV 1044 of around 1738-40 was similarly written for the Collegium musicum and that it represents a formal return to the world of the concerto that Bach had first explored in his fifth Brandenburg Concerto. The Triple Concerto itself derives from earlier works: the first and third movements are revisions of the Prelude and Fugue for organ BWV 894, while the second movement is a relatively minor reworking of the middle movement of the Trio Sonata for organ BWV 527. It is unclear however whether the two movernenm of the Prelude and Fugue BWV 894 represent the original form of the concerto's outer movements or whether these latter were not in fact initially based on a lost harpsichord concerto. If that is so, the Triple Concerto could well have been written during Bach`s years in Cöthen. The triplet writing in the opening movement recalls the final Allegro assai of the Violin Concerto in A minor BWV 1041, which we know was composed in Cöthen. But whereas the latter is dominated from beginning to end by the triplet rhythm, the triplets in BWV 1044 are offset, on the one hand, by a vigorous, wavelike sequence of rising semiquavers and, on the other by a series of syncopations. In the second movement (as in the fifth Brandenburg Concerto) the ripieno strings fall silent, while the three soloists vie with each other on equal terms. The third movement gives prominence to the harpsichord, which is even allowed a brief cadenza, while the writing for recorder and violin, although independent, scarcely demands any great display of bravura virtuosity on their part. The cantata Gottes Zeit ist die allerbeste Zeit BWV 106 (also known as the Actus tragicus) is scored for minimal resources: three vocal soloists, chorus, two recorders, two violas da gamba and basso continuo. The vocal movements are introduced by a brief instrumental movement or “sonatina”. The instrumentation of the piece, which was probably written for a funeral, illustrates the tone-painting characteristic of the period, with the recorders symbolising the celestial heights, the violas da gamba the whole of suffering creation. With its French-style dotted rhythms, the “Sonata concerto” provides the instrumental introduction to a cantata that Bach wrote in Weimar in 1714. Martin Elste ····· A brief history of the recorder 11. The recorder in the 20th century Frans Brüggen (I) Frans Brüggen was born in Amsterdam in 1934 as the youngest of nine children. He first came into contact with the recorder during the Second World War, when schools were closed. He received his first lessons from his brother Hans, who was studying law and who also played the oboe. His first official teacher was Kees Otten, with whom he studied both privately and, at the Amsterdam Muzieklyceum, professionally. He graduated in 1954, as one of the first students to complete a degree course in the recorder as a principal instrument, such courses only recently having been introduced to the Netherlands. At this time he was also studying musicology at the University of Amsterdam and the modern flute. He joined the Amsterdams Blokfluit Ensemble, a group of four players led by Kees Otten. As a soloist, Brüggen needed not only sufficient interesting music but also decent instruments. In the mid-1950s he spent some time in Innsbruck and also scoured Austrian and italian libraries and museums in his search for suitable material and instruments. On his return to the Netherlands he was introduced by Kees Otten to Gustav Leonhardt, who had similarly just returned to Amsterdam after a period of study in Basle and teaching commitments in Vienna. It was a decisive encounter, leading to a collaboration that was to last several decades. In 1959 Brüggen became professor of recorder and early music at the Amsterdam Muzieklyceum and at the Royal Conservatory The Hague, positions he retained until the early 1970s. Although lacking an immediate role model, Brüggen became the first recorder player to combine artistic intelligence with immaculate technique. And, in essence, he was the first genuine recorder soloist of the 20th century since the recorder had hitherto been the second instrument of oboists, flautists and others. Brüggen gave the recorder a rightful place on all the worlds great concert platforms. His activities as a recorder player coincided with a period when early music was still finding its way into modern concert halls. Also at this time he became involved with writers, composers and visual artists such as Reinbert de Leeuw, Louis Andriessen, Peter Schat, ]an van Vlijmen, Harry Mulisch and Misha Mengelberg, with whom he collaborated on the opera Reconstructie in 1969. At that time there was still no world of early music, and even later Brüggen preferred to keep his distance from such a world, emphasising innovation rather than conservation. One result of this has been that Brüggen has persuaded many composers to write new works for him. Among the composers who have dedicated solo works to Brüggen are Luciano Berio, Louis Andriessen, Peter Schat, Makoto Shinohara and Maki Ishii. No less typical was his involvement in musico-political demonstrations at the end of the 1960s, when he took part in demonstrations against the Vietnam War and protested on behalf of composers. In 1962 he began recording for TELDEC’s series “Das Alte Werk”. Even his earliest releases - recorder sonatas by Telemann and Handel with Gustav Leonhardt and Anner Bylsma - were enthusiastically received and honoured with many international awards. In the meantime, the Utrecht recorder maker Hans Coolsma had developed a new solo recorder at Brüggen's instigation that was considerably more sophisticated than all the other models then available. Until the mid-sixties all efforts had been directed at performing early music in as stylistically faithful a manner as possible, a fidelity sought by consulting contemporary writings, manuscripts and other sources. What was new after the mid-sixties was the conviction that instruments from the period when the works themselves had been written and, hence, appropriate to their style, were necessary to realise the composers ideas and feelings as authentically as possible. In 1962 Gustav Leonhardt invited the Bremen instrument maker Martin Skowroneck to build copies of early harpsichords, and this in turn encouraged Brüggen to follow up this idea by suggesting that Skowroneck might attempt to make copies of early recorders. The result of this initiative was a descant recorder modelled on an instrument by Terton in the Gemeentemuseum in The Hague and a treble instrument copied from a recorder by Bressan in the private collection of Edgar Hunt. These copies ushered in a new era in the performance of early music on the recorder. Peter Holtslag Translation: Stewart Spencer