Bach all‘ italiano

Release Date: 27th May 2016
Catalogue No: KL1517
Label: Klanglogo
Length: 68 minutes

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Bach, J S: Keyboard Concerto in F Major, BWV 978 (After Vivaldi's RV 310) [Arr. for Recorder & Chamber Ensemble]

Work length7:01

Simon Borutzki (recorder), Lea Rahel Bader (cello), Clemens Flick (harpsichord)
Recorded: 19-22 October 2015
Recording Venue: Andreaskirche Berlin Wannsee, Germany

I. Allegro

Track length2:08

II. Largo

Track length2:36

III. Allegro

Track length2:17

Bach, J S: Organ Concerto in A minor (after Vivaldi), BWV593

Work length9:14

Simon Borutzki (recorder), Lea Rahel Bader (cello), Clemens Flick (harpsichord), Magnus Andersson (lute)
Recorded: 19-22 October 2015
Recording Venue: Andreaskirche Berlin Wannsee, Germany

I. [Allegro]

Track length3:17

II. Adagio

Track length2:54

III. Allegro

Track length3:03

Bach, J S: Keyboard Concerto in D minor (after Marcello), BWV974

Work length10:05

Simon Borutzki (recorder), Lea Rahel Bader (cello), Clemens Flick (harpsichord), Magnus Andersson (lute)
Recorded: 19-22 October 2015
Recording Venue: Andreaskirche Berlin Wannsee, Germany

I. Andante

Track length2:42

II. Adagio

Track length3:28

III. Presto

Track length3:55

Bach, J S: Italian Concerto in F Major, BWV 971 (Arr. for Recorder & Chamber Ensemble)

Work length12:33

Simon Borutzki (recorder), Lea Rahel Bader (cello), Clemens Flick (harpsichord), Magnus Andersson (lute)
Recorded: 19-22 October 2015
Recording Venue: Andreaskirche Berlin Wannsee, Germany

I. [Allegro]

Track length3:55

II. Andante

Track length4:21

III. Presto

Track length4:17

Bach, J S: Keyboard Concerto in G Minor, BWV 975 (After Vivaldi's RV 316) [Arr. for Recorder & Chamber Ensemble]

Work length9:01

Simon Borutzki (recorder), Lea Rahel Bader (cello), Clemens Flick (harpsichord), Magnus Andersson (lute)
Recorded: 19-22 October 2015
Recording Venue: Andreaskirche Berlin Wannsee, Germany

I. Allegro

Track length2:47

II. Largo

Track length4:32

III. Giga: Presto

Track length1:42

Bach, J S: Keyboard Concerto in G Major, BWV 986 (Arr. for Recorder & Chamber Ensemble)

Work length5:25

Simon Borutzki (recorder), Lea Rahel Bader (cello), Clemens Flick (harpsichord), Magnus Andersson (lute)
Recorded: 19-22 October 2015
Recording Venue: Andreaskirche Berlin Wannsee, Germany

I. [Allegro]

Track length1:46

II. Adagio

Track length1:24

III. Allegro

Track length2:15

Bach, J S: Keyboard Concerto in C Major, BWV 976 (After Vivaldi's RV 265) [Arr. for Recorder & Chamber Ensemble]

Work length8:47

Simon Borutzki (recorder), Lea Rahel Bader (cello), Magnus Andersson (lute), Clemens Flick (harpsichord)
Recorded: 19-22 October 2015
Recording Venue: Andreaskirche Berlin Wannsee, Germany

I. Allegro

Track length3:17

II. Largo

Track length2:37

III. Allegro

Track length2:53

Bach, J S: Keyboard Concerto in G Major, BWV 973 (After Vivaldi's RV 299) [Arr. for Recorder & Chamber Ensemble]

Work length6:42

Simon Borutzki (recorder), Lea Rahel Bader (cello), Clemens Flick (harpsichord), Magnus Andersson (lute)
Recorded: 19-22 October 2015
Recording Venue: Andreaskirche Berlin Wannsee, Germany

I. Allegro assai

Track length2:15

II. Largo

Track length2:19

III. Allegro

Track length2:08

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Johann Sebastian Bach most likely is the composer whose music has been arranged most commonly throughout history. However, it is a less known fact that Bach himself acted as an arranger of music from the hand of other composers. For instance, he skilfully transcribed the violin concertos of his Italian colleagues Allesandro Marcello (1673–1747) and Antonio Vivaldi (1678– 1741) for the harpsichord, in such a manner that both – the composer and the arranger – appear to meld into one congenial entity. For Bach all’Italiano, the recorder player Simon Borutzki examined these transcriptions and arranged a selection of them into concertos for recorder and continuo ensemble, which maintain their Italian sentiment and the German texture of Bach's renditions and at the same time enrich them with the unique tonal qualities of the various flutes. After all, as the music critic Johann Mattheson said in 1739: "Borrowing is a permissible thing; but you have to make the imitations in such a fashion that they obtain an appearance nicer and better than the movements they were borrowed from." With this intention, Simon Borutzki, by means of his eight concertos, offers a totally new and highly unique view of Bach's adaptation of the Italian style – entirely in the sense of baroque instrumentations typical of a concerto da camera.

Bach all‘ italiano

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