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ORCHESTRA OF ST. LUKE'S - THE MUSICAL HERITAGE SOCIETY RECORDINGS

Bach: Keyboard Concerti, BWV 1052-56, 1058 - Vladimir Feltsman, piano, Orchestra of St. Luke's

Bach: Keyboard Concerti, BWV 1052-56, 1058 - Vladimir Feltsman, piano, Orchestra of St. Luke's

An MHS Digital Download Exclusive! Recorded at American Academy and Institution of Arts and Letters, New York City, New York, USA, 1993

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Harpsichord Concerto No. 1 In D Minor, BWV 1052: I. Allegro
7:33
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Harpsichord Concerto No. 1 In D Minor, BWV 1052: II. Adagio
7:21
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Harpsichord Concerto No. 1 In D Minor, BWV 1052: III. Allegro
7:35
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Harpsichord Concerto No. 2 In E Major, BWV 1053: I. Allegro
7:46
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Harpsichord Concerto No. 2 In E Major, BWV 1053: II. Siciliano
5:34
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Harpsichord Concerto No. 2 In E Major, BWV 1053: III. Allegro
6:14
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Harpsichord Concerto No. 3 In D Major, BWV 1054: I. Allegro
7:18
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Harpsichord Concerto No. 3 In D Major, BWV 1054: II. Adagio E Piano Sempre
6:26
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Harpsichord Concerto No. 3 In D Major, BWV 1054: III. Allegro
2:38
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Harpsichord Concerto No. 4 In A Major, BWV 1055: I. Allegro
4:10
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Harpsichord Concerto No. 4 In A Major, BWV 1055: II. Larghetto
5:42
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Harpsichord Concerto No. 4 In A Major, BWV 1055: III. Allegro ma non tanto
4:13
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Harpsichord Concerto No. 5 In F MInor, BWV 1056: I. Allegro
3:05
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Harpsichord Concerto No. 5 In F MInor, BWV 1056: II. Largo
3:06
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Harpsichord Concerto No. 5 In F MInor, BWV 1056: III. Presto
3:20
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Harpsichord Concerto No. 7 In G Minor, BWV 1058: I. Allegro
3:34
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Harpsichord Concerto No. 7 In G Minor, BWV 1058: II. Andante
6:18
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Harpsichord Concerto No. 7 In G Minor, BWV 1058: III. Allegro assai
3:44
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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 a German Steinway.
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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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