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JOHANN SEBASTIAN BACH (1685 – 1750)

Bach: Keyboard Concerti, BWV 1052-56, 1058; Italian Concerto, BWV 971 - Vladimir Feltsman, piano

Bach: Keyboard Concerti, BWV 1052-56, 1058; Italian Concerto, BWV 971 - Vladimir Feltsman, piano

Recorded at American Academy and Institution of Arts and Letters, New York City, New York, USA, 1993

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BACH: Concerto in D Minor, BWV 1052 I. Allegro
4:10
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BACH: Concerto in D Minor, BWV 1052 II. Adagio
5:42
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BACH: Concerto in D Minor, BWV 1052 III. Allegro
4:13
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BACH: Concerto in E Major, BWV 1053 I. Allegro
7:33
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BACH: Concerto in E Major, BWV 1053 II. Siciliano
7:21
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BACH: Concerto in E Major, BWV 1053 III. Allegro
7:35
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BACH: Concerto in D Major, BWV 1054 I. Allegro
7:18
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BACH: Concerto in D Major, BWV 1054 II. Adagio e piano sempre
6:26
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BACH: Concerto in D Major, BWV 1054 III. Allegro
2:37
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BACH: Concerto in A Major, BWV 1055 I. Allegro
7:46
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BACH: Concerto in A Major, BWV 1055 II. Larghetto
5:34
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BACH: Concerto in A Major, BWV 1055 III. Allegro ma non tanto
6:14
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BACH: Concerto in F Minor, BWV 1056 I. Allegro
3:05
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BACH: Concerto in F Minor, BWV 1056 II. Largo
3:06
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BACH: Concerto in F Minor, BWV 1056 III. Presto
3:20
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BACH: Concerto in G Minor, BWV 1058 I. Allegro
3:34
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BACH: Concerto in G Minor, BWV 1058 II. Andante
6:18
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BACH: Concerto in G Minor, BWV 1058 III. Allegro assai
3:44
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BACH: Italian Concerto, BWV 971 (Concerto Nach Italienischem Gusto) I. (no tempo marking)
3:34
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BACH: Italian Concerto, BWV 971 (Concerto Nach Italienischem Gusto) II. Andante
5:36
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BACH: Italian Concerto, BWV 971 (Concerto Nach Italienischem Gusto) III. Presto
3:25
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Feltsman Bach Concertos liner notes
Styles change, and it is a relief for those of us who have always enjoyed listening to-and playing-Bach’s music on the piano not to have to make any more apologies for our taste. I acknowledge that the piano may not have been the instrument for which Bach wrote these pieces-for that matter, the concertos on this disc were not originally intended for keyboard at all-but, in an era when there are any number of authentic recordings on clavichord or harpsichord available, why shouldn’t we explore the mulipicity of colors, textures and dynamics intrinsic in Bach’s music that can only be made accessible by a pianist? As the late Glenn Gould once observed, back in the days when musicalogical dogma was at its most rigid, if you take the notion of authenticity too far, about the only thing a conscientious musician would be able to play proudly on a modern piano was Rachmaninoff-and even that would have to be played on a turn-of-the-century Bosendorfer or German Steinway. All of Bach’s keyboard concertos were originally scored for small orchestra and solo violin or oboe. Perhaps the greatest self-transcriber of all time, Bach blithely recycled this music for other pieces (for example, two movements of the Concerto in D Minor, BWV 1052, are also to be found in the cantata “Wir muessen durth viel Treubsal” BWV 146) and then, working at what seems to have been unusual haste even for the man who regularly churned out a cantata each week, he wrote down all of his keyboard concertos in a single manuscript volume, apparently sometime around 1735.
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This is a solid traversal that can be recommended to anyone wanting to hear these concertos on a piano accompanied by modern instruments.

All Music Guide
11/29/2024
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Vladimir Feltsman, Orchestra of St. Luke's
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