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Klassiek - Verschenen op 22 februari 2019 | Ramée

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life. © Ramée/Outhere
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Klassiek - Verschenen op 1 december 2014 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 24 september 2012 | EPR-Classic

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Exceptional Sound Recording
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Klassiek - Verschenen op 25 september 2012 | Phi

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio
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Klassiek - Verschenen op 2 september 2014 | OnClassical

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Klassiek - Verschenen op 6 oktober 2017 | Haenssler Classic

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Klassiek - Verschenen op 26 januari 2018 | Arcana

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
After his first solo album of music by Marchand and Clérambault, released in 2015 and nominated for a Preis der Deutschen Schallplattenkritik, the harpsichordist Luca Oberti, who has performed on the international scene for years alongside such figures as Marc Minkowski and Christophe Rousset, presents a new album on the theme of Bach’s imaginary journey to Italy. Schütz, Froberger, Muffat, Handel, Hasse, Mozart and Wagner are merely the most famous of the many musicians who crossed the Alps to immerse themselves in the world of Italian music and grasp its atmospheres and its secrets. Yet the composer who most fully assimilated the Italian style was Johann Sebastian Bach, who never even set foot in Italy. His journey was a virtual one: the scores of the Italian masters, which he avidly studied and absorbed from childhood onwards, guided him on an ideal itinerary from Vivaldi’s Venice to Frescobaldi’s Rome. Beginning with the transcriptions of concertos by Vivaldi and Marcello, and continuing with pieces of Italian inspiration like the Aria Variata alla maniera italiana, the Capriccio sulla lontananza del fratello dilettissimo and the Fantasia and Fugue BWV 904, the journey culminates in the celebrated Italian Concerto. © Arcana/Outhere
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Religieuze cantates - Verschenen op 17 april 2012 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen 3F de Télérama - Exceptional Sound Recording - Hi-Res Audio - Sélectionné par Ecoutez Voir
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Klassiek - Verschenen op 20 januari 2017 | Passacaille

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Klassiek - Verschenen op 2 oktober 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Klassiek - Verschenen op 24 augustus 2018 | Arcana

Hi-Res Booklet
Sadly, the majority of Bach's works for transverse flute and clavier (be that obbligato or continuo) have survived only in truncated form, in manuscripts stuffed full of mistakes – surely the result of a hasty copy job from an older work, now lost – to say nothing of doubtful attributions, meaning that flautists have little choice but to take what they're given and do the best with it they can. And that is exactly what Laura Pontecorvo is doing, ably accompanied by Rinaldo Alessandrini on the harpsichord: the truncated works have been finished, the errors corrected, the transpositions restored to their original form, with the result that we find ourselves confronted by works which are almost "new", but still very much by Bach! What links all these works is that the harpsichord part is more than a simple basso continuo – which would require that the harpsichord player improvise an accompaniment, or at least write one for themselves – but a concerting part, written by Bach himself. Incidentally, this gives us an excellent idea of how one should write one's own basso continuo: imitations galore, a great harmonic transparency, unflagging elegance. The missing parts of the Sonata BWV 1032 – the original manuscript is sadly incomplete – have been deftly filled in by Alessandrini, who manages to perfectly respect the Cantor's discourse. © SM/Qobuz
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Klassiek - Verschenen op 2 oktober 2012 | Yarlung Records

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 18 november 2016 | Glossa

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Klassiek - Verschenen op 6 oktober 2017 | OnClassical

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Klassiek - Verschenen op 27 september 2011 | Analekta

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Klassiek - Verschenen op 8 april 2016 | Ramée

Hi-Res Booklet
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Klassiek - Verschenen op 11 februari 2014 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 5 juni 2012 | Ondine

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 7 oktober 2016 | Ad Vitam records

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Klassiek - Verschenen op 5 januari 2018 | Skarbo

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