ASMF, Neville Marriner • Handel • Concerti grossi, Op. 3 kzfaq.info/sun/PLpT0iJjEyPDUkddrtA6MOBHNIHrkI4f6R George Frideric Handel kzfaq.info/sun/PLpT0iJjEyPDVpmiy9sNekpdSuGxA5eHsJ

ASMF, Neville Marriner • Handel • Concerti grossi, Op. 3 kzfaq.info/sun/PLpT0iJjEyPDUkddrtA6MOBHNIHrkI4f6R George Frideric Handel kzfaq.info/sun/PLpT0iJjEyPDVpmiy9sNekpdSuGxA5eHsJ

ASMF, Neville Marriner • Handel • Concerti grossi, Op. 3 kzfaq.info/sun/PLpT0iJjEyPDUkddrtA6MOBHNIHrkI4f6R George Frideric Handel kzfaq.info/sun/PLpT0iJjEyPDVpmiy9sNekpdSuGxA5eHsJ

ASMF, Neville Marriner • Handel • Concerti grossi, Op. 3 kzfaq.info/sun/PLpT0iJjEyPDUkddrtA6MOBHNIHrkI4f6R George Frideric Handel kzfaq.info/sun/PLpT0iJjEyPDVpmiy9sNekpdSuGxA5eHsJ

ASMF, Neville Marriner • Handel • Concerti grossi, Op. 3 kzfaq.info/sun/PLpT0iJjEyPDUkddrtA6MOBHNIHrkI4f6R George Frideric Handel kzfaq.info/sun/PLpT0iJjEyPDVpmiy9sNekpdSuGxA5eHsJ

ASMF, Neville Marriner • Handel • Concerti grossi, Op. 3 kzfaq.info/sun/PLpT0iJjEyPDUkddrtA6MOBHNIHrkI4f6R George Frideric Handel kzfaq.info/sun/PLpT0iJjEyPDVpmiy9sNekpdSuGxA5eHsJ

George Frideric Handel kzfaq.info/sun/PLpT0iJjEyPDVpmiy9sNekpdSuGxA5eHsJ

Особенно впечатляют медленные части первых двух концертов! Это сыграно поистине божественно... ❤

Спасибо за Ваш прекрасный ролик с этими эталонными записями великих концертов Генделя!..

Church of fudge

Christopher Hogwood & The Academy Of Ancient Music • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDVYzwp2EWFsAHD8xlaJmjLv Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm- www.gramophone.co.uk/reviews/review?slug=bach-brandenburg-concertos-20 Magazine Review Date: 4/1985 Nicholas Anderson This new set of Bach's most famous concertos does not have to compete with any of the others presently on the market for it is based on sources which predate the fair copy which Bach dedicated to the Margrave of Brandenburg in 1721. It is not the first time that such an enterprise has found its way on to gramophone records and many readers will doubtless remember Thurston Dart's pioneering work, along similar lines of thought, which resulted in recordings issued by Philips during the early 1970s. The differences, both large and small, between Bach's fair copy of the six Brandenburg Concertos and the earlier forms are too numerous to discuss fully in these pages, but they are dealt with in Christopher Hogwood's interesting introductory essay which accompanies the set. In it he draws attention not only to the considerable number of variant readings which exist-there are, for instance, no less than 13 sources for Concerto No. 5 in D major-but also to the scale of performances which Bach envisaged and the size and nature of the instruments themselves. Hogwood does not pretend to solve all the problems but his investigative mind and lively musicianship often point our thoughts in new directions; in this he is greatly assisted by a small group of players who have achieved performances possessing a greater degree of finesse than I have sometimes found in past releases. The greatest discrepancies between earlier sources and the present version of the Brandenburgs occur in Concerto No. 1 in F major. In its pre-Brandenburg state, copied by Christian Friedrich Penzel, the work consisted of an opening Allegro followed by an Adagio and a Menuet with two Trios. These movements are common to both versions; in the fair copy Bach added a second Allegro, a Polacca or Polonaise, and redesignated the first violin line for a violino piccolo tuned a third higher than a standard violin. Thus, in the earlier form, which we have here, the musical loss is considerable; but what I found particularly interesting in this recording of the work was the entirely different line accompanying the two horns in Trio II, since it is violins not oboes which complete the texture in this case. The variants in Concertos Nos. 2, 3 and 4 are much smaller by comparison; Hogwood, unlike Dart, understands the flauti d'echo of the Fourth Concerto as treble recorders rather than sopranino members of the family. In Concerto No. 5 he uses the manuscript parts of Bach's pupil, Altnickol, which differ considerably from Bach's fair copy. Altnickol's version scores the work for harpsichord, flute and violin concertato, with the accompaniment of violin, viola and violone but without the cello of the Brandenburg version. The harpsichord solo of the first movement is much shorter, ending with some striking chromaticisms; the slow movement is marked Adagio rather than Affettuoso and, as in the fair copy, the soloists play alone. One of the most interesting features of this set concerns the size and nature of the bass stringed instruments. Hogwood, basing his ideas on those of Laurence Dreyfus in an unpublished thesis, uses three different instruments. In Concertos Nos. 1 and 3 a 16' instrument is used whilst for Concertos Nos. 2 and 6 an 8' sound has been chosen; a contrabass instrument is used for Concerto No. 4, and a smaller violone for Concerto No. 5. I think it unlikely that any Bach lover will want to miss an opportunity of becoming acquainted with these earlier thoughts on six works which rest on the pinnacle of baroque instrumental music. I think it equally unlikely that having done so, he will wish to distance himself from Bach's presentation version with its greater quantity of music and additional refinements. At their best the performances are polished and stylish; the recorded sound is very clear, too, capturing the character of almost each instrument in what seems to me to be an almost ideally resonant acoustic; there is really very little to choose between the LP and CD versions in terms of sound. Since, in each concerto, there is virtually one instrument to a part it is impossible to single out all the performers deserving of mention. In general they comprise a body of players which has worked together over a number of years and this has paid off handsomely in interepretative rapport as we can hear, for example, in the viola partnership of Jan Schlapp and Trevor Jones in the Sixth Concerto. I also applaud the prominence given to the important horn parts in the opening movement of Concerto No. 1. I found this a worthwhile and fascinating issue. Strongly recommended as a compendium to any recording of Bach's offering to the Margrave.'

Christopher Hogwood & The Academy Of Ancient Music • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDVYzwp2EWFsAHD8xlaJmjLv Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm- www.gramophone.co.uk/reviews/review?slug=bach-brandenburg-concertos-20 Magazine Review Date: 4/1985 Nicholas Anderson This new set of Bach's most famous concertos does not have to compete with any of the others presently on the market for it is based on sources which predate the fair copy which Bach dedicated to the Margrave of Brandenburg in 1721. It is not the first time that such an enterprise has found its way on to gramophone records and many readers will doubtless remember Thurston Dart's pioneering work, along similar lines of thought, which resulted in recordings issued by Philips during the early 1970s. The differences, both large and small, between Bach's fair copy of the six Brandenburg Concertos and the earlier forms are too numerous to discuss fully in these pages, but they are dealt with in Christopher Hogwood's interesting introductory essay which accompanies the set. In it he draws attention not only to the considerable number of variant readings which exist-there are, for instance, no less than 13 sources for Concerto No. 5 in D major-but also to the scale of performances which Bach envisaged and the size and nature of the instruments themselves. Hogwood does not pretend to solve all the problems but his investigative mind and lively musicianship often point our thoughts in new directions; in this he is greatly assisted by a small group of players who have achieved performances possessing a greater degree of finesse than I have sometimes found in past releases. The greatest discrepancies between earlier sources and the present version of the Brandenburgs occur in Concerto No. 1 in F major. In its pre-Brandenburg state, copied by Christian Friedrich Penzel, the work consisted of an opening Allegro followed by an Adagio and a Menuet with two Trios. These movements are common to both versions; in the fair copy Bach added a second Allegro, a Polacca or Polonaise, and redesignated the first violin line for a violino piccolo tuned a third higher than a standard violin. Thus, in the earlier form, which we have here, the musical loss is considerable; but what I found particularly interesting in this recording of the work was the entirely different line accompanying the two horns in Trio II, since it is violins not oboes which complete the texture in this case. The variants in Concertos Nos. 2, 3 and 4 are much smaller by comparison; Hogwood, unlike Dart, understands the flauti d'echo of the Fourth Concerto as treble recorders rather than sopranino members of the family. In Concerto No. 5 he uses the manuscript parts of Bach's pupil, Altnickol, which differ considerably from Bach's fair copy. Altnickol's version scores the work for harpsichord, flute and violin concertato, with the accompaniment of violin, viola and violone but without the cello of the Brandenburg version. The harpsichord solo of the first movement is much shorter, ending with some striking chromaticisms; the slow movement is marked Adagio rather than Affettuoso and, as in the fair copy, the soloists play alone. One of the most interesting features of this set concerns the size and nature of the bass stringed instruments. Hogwood, basing his ideas on those of Laurence Dreyfus in an unpublished thesis, uses three different instruments. In Concertos Nos. 1 and 3 a 16' instrument is used whilst for Concertos Nos. 2 and 6 an 8' sound has been chosen; a contrabass instrument is used for Concerto No. 4, and a smaller violone for Concerto No. 5. I think it unlikely that any Bach lover will want to miss an opportunity of becoming acquainted with these earlier thoughts on six works which rest on the pinnacle of baroque instrumental music. I think it equally unlikely that having done so, he will wish to distance himself from Bach's presentation version with its greater quantity of music and additional refinements. At their best the performances are polished and stylish; the recorded sound is very clear, too, capturing the character of almost each instrument in what seems to me to be an almost ideally resonant acoustic; there is really very little to choose between the LP and CD versions in terms of sound. Since, in each concerto, there is virtually one instrument to a part it is impossible to single out all the performers deserving of mention. In general they comprise a body of players which has worked together over a number of years and this has paid off handsomely in interepretative rapport as we can hear, for example, in the viola partnership of Jan Schlapp and Trevor Jones in the Sixth Concerto. I also applaud the prominence given to the important horn parts in the opening movement of Concerto No. 1. I found this a worthwhile and fascinating issue. Strongly recommended as a compendium to any recording of Bach's offering to the Margrave.'

Christopher Hogwood & The Academy Of Ancient Music • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDVYzwp2EWFsAHD8xlaJmjLv Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm- www.gramophone.co.uk/reviews/review?slug=bach-brandenburg-concertos-20 Magazine Review Date: 4/1985 Nicholas Anderson This new set of Bach's most famous concertos does not have to compete with any of the others presently on the market for it is based on sources which predate the fair copy which Bach dedicated to the Margrave of Brandenburg in 1721. It is not the first time that such an enterprise has found its way on to gramophone records and many readers will doubtless remember Thurston Dart's pioneering work, along similar lines of thought, which resulted in recordings issued by Philips during the early 1970s. The differences, both large and small, between Bach's fair copy of the six Brandenburg Concertos and the earlier forms are too numerous to discuss fully in these pages, but they are dealt with in Christopher Hogwood's interesting introductory essay which accompanies the set. In it he draws attention not only to the considerable number of variant readings which exist-there are, for instance, no less than 13 sources for Concerto No. 5 in D major-but also to the scale of performances which Bach envisaged and the size and nature of the instruments themselves. Hogwood does not pretend to solve all the problems but his investigative mind and lively musicianship often point our thoughts in new directions; in this he is greatly assisted by a small group of players who have achieved performances possessing a greater degree of finesse than I have sometimes found in past releases. The greatest discrepancies between earlier sources and the present version of the Brandenburgs occur in Concerto No. 1 in F major. In its pre-Brandenburg state, copied by Christian Friedrich Penzel, the work consisted of an opening Allegro followed by an Adagio and a Menuet with two Trios. These movements are common to both versions; in the fair copy Bach added a second Allegro, a Polacca or Polonaise, and redesignated the first violin line for a violino piccolo tuned a third higher than a standard violin. Thus, in the earlier form, which we have here, the musical loss is considerable; but what I found particularly interesting in this recording of the work was the entirely different line accompanying the two horns in Trio II, since it is violins not oboes which complete the texture in this case. The variants in Concertos Nos. 2, 3 and 4 are much smaller by comparison; Hogwood, unlike Dart, understands the flauti d'echo of the Fourth Concerto as treble recorders rather than sopranino members of the family. In Concerto No. 5 he uses the manuscript parts of Bach's pupil, Altnickol, which differ considerably from Bach's fair copy. Altnickol's version scores the work for harpsichord, flute and violin concertato, with the accompaniment of violin, viola and violone but without the cello of the Brandenburg version. The harpsichord solo of the first movement is much shorter, ending with some striking chromaticisms; the slow movement is marked Adagio rather than Affettuoso and, as in the fair copy, the soloists play alone. One of the most interesting features of this set concerns the size and nature of the bass stringed instruments. Hogwood, basing his ideas on those of Laurence Dreyfus in an unpublished thesis, uses three different instruments. In Concertos Nos. 1 and 3 a 16' instrument is used whilst for Concertos Nos. 2 and 6 an 8' sound has been chosen; a contrabass instrument is used for Concerto No. 4, and a smaller violone for Concerto No. 5. I think it unlikely that any Bach lover will want to miss an opportunity of becoming acquainted with these earlier thoughts on six works which rest on the pinnacle of baroque instrumental music. I think it equally unlikely that having done so, he will wish to distance himself from Bach's presentation version with its greater quantity of music and additional refinements. At their best the performances are polished and stylish; the recorded sound is very clear, too, capturing the character of almost each instrument in what seems to me to be an almost ideally resonant acoustic; there is really very little to choose between the LP and CD versions in terms of sound. Since, in each concerto, there is virtually one instrument to a part it is impossible to single out all the performers deserving of mention. In general they comprise a body of players which has worked together over a number of years and this has paid off handsomely in interepretative rapport as we can hear, for example, in the viola partnership of Jan Schlapp and Trevor Jones in the Sixth Concerto. I also applaud the prominence given to the important horn parts in the opening movement of Concerto No. 1. I found this a worthwhile and fascinating issue. Strongly recommended as a compendium to any recording of Bach's offering to the Margrave.'

Christopher Hogwood & The Academy Of Ancient Music • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDVYzwp2EWFsAHD8xlaJmjLv Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm- www.gramophone.co.uk/reviews/review?slug=bach-brandenburg-concertos-20 Magazine Review Date: 4/1985 Nicholas Anderson This new set of Bach's most famous concertos does not have to compete with any of the others presently on the market for it is based on sources which predate the fair copy which Bach dedicated to the Margrave of Brandenburg in 1721. It is not the first time that such an enterprise has found its way on to gramophone records and many readers will doubtless remember Thurston Dart's pioneering work, along similar lines of thought, which resulted in recordings issued by Philips during the early 1970s. The differences, both large and small, between Bach's fair copy of the six Brandenburg Concertos and the earlier forms are too numerous to discuss fully in these pages, but they are dealt with in Christopher Hogwood's interesting introductory essay which accompanies the set. In it he draws attention not only to the considerable number of variant readings which exist-there are, for instance, no less than 13 sources for Concerto No. 5 in D major-but also to the scale of performances which Bach envisaged and the size and nature of the instruments themselves. Hogwood does not pretend to solve all the problems but his investigative mind and lively musicianship often point our thoughts in new directions; in this he is greatly assisted by a small group of players who have achieved performances possessing a greater degree of finesse than I have sometimes found in past releases. The greatest discrepancies between earlier sources and the present version of the Brandenburgs occur in Concerto No. 1 in F major. In its pre-Brandenburg state, copied by Christian Friedrich Penzel, the work consisted of an opening Allegro followed by an Adagio and a Menuet with two Trios. These movements are common to both versions; in the fair copy Bach added a second Allegro, a Polacca or Polonaise, and redesignated the first violin line for a violino piccolo tuned a third higher than a standard violin. Thus, in the earlier form, which we have here, the musical loss is considerable; but what I found particularly interesting in this recording of the work was the entirely different line accompanying the two horns in Trio II, since it is violins not oboes which complete the texture in this case. The variants in Concertos Nos. 2, 3 and 4 are much smaller by comparison; Hogwood, unlike Dart, understands the flauti d'echo of the Fourth Concerto as treble recorders rather than sopranino members of the family. In Concerto No. 5 he uses the manuscript parts of Bach's pupil, Altnickol, which differ considerably from Bach's fair copy. Altnickol's version scores the work for harpsichord, flute and violin concertato, with the accompaniment of violin, viola and violone but without the cello of the Brandenburg version. The harpsichord solo of the first movement is much shorter, ending with some striking chromaticisms; the slow movement is marked Adagio rather than Affettuoso and, as in the fair copy, the soloists play alone. One of the most interesting features of this set concerns the size and nature of the bass stringed instruments. Hogwood, basing his ideas on those of Laurence Dreyfus in an unpublished thesis, uses three different instruments. In Concertos Nos. 1 and 3 a 16' instrument is used whilst for Concertos Nos. 2 and 6 an 8' sound has been chosen; a contrabass instrument is used for Concerto No. 4, and a smaller violone for Concerto No. 5. I think it unlikely that any Bach lover will want to miss an opportunity of becoming acquainted with these earlier thoughts on six works which rest on the pinnacle of baroque instrumental music. I think it equally unlikely that having done so, he will wish to distance himself from Bach's presentation version with its greater quantity of music and additional refinements. At their best the performances are polished and stylish; the recorded sound is very clear, too, capturing the character of almost each instrument in what seems to me to be an almost ideally resonant acoustic; there is really very little to choose between the LP and CD versions in terms of sound. Since, in each concerto, there is virtually one instrument to a part it is impossible to single out all the performers deserving of mention. In general they comprise a body of players which has worked together over a number of years and this has paid off handsomely in interepretative rapport as we can hear, for example, in the viola partnership of Jan Schlapp and Trevor Jones in the Sixth Concerto. I also applaud the prominence given to the important horn parts in the opening movement of Concerto No. 1. I found this a worthwhile and fascinating issue. Strongly recommended as a compendium to any recording of Bach's offering to the Margrave.'

Christopher Hogwood & The Academy Of Ancient Music • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDVYzwp2EWFsAHD8xlaJmjLv Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm- www.gramophone.co.uk/reviews/review?slug=bach-brandenburg-concertos-20 Magazine Review Date: 4/1985 Nicholas Anderson This new set of Bach's most famous concertos does not have to compete with any of the others presently on the market for it is based on sources which predate the fair copy which Bach dedicated to the Margrave of Brandenburg in 1721. It is not the first time that such an enterprise has found its way on to gramophone records and many readers will doubtless remember Thurston Dart's pioneering work, along similar lines of thought, which resulted in recordings issued by Philips during the early 1970s. The differences, both large and small, between Bach's fair copy of the six Brandenburg Concertos and the earlier forms are too numerous to discuss fully in these pages, but they are dealt with in Christopher Hogwood's interesting introductory essay which accompanies the set. In it he draws attention not only to the considerable number of variant readings which exist-there are, for instance, no less than 13 sources for Concerto No. 5 in D major-but also to the scale of performances which Bach envisaged and the size and nature of the instruments themselves. Hogwood does not pretend to solve all the problems but his investigative mind and lively musicianship often point our thoughts in new directions; in this he is greatly assisted by a small group of players who have achieved performances possessing a greater degree of finesse than I have sometimes found in past releases. The greatest discrepancies between earlier sources and the present version of the Brandenburgs occur in Concerto No. 1 in F major. In its pre-Brandenburg state, copied by Christian Friedrich Penzel, the work consisted of an opening Allegro followed by an Adagio and a Menuet with two Trios. These movements are common to both versions; in the fair copy Bach added a second Allegro, a Polacca or Polonaise, and redesignated the first violin line for a violino piccolo tuned a third higher than a standard violin. Thus, in the earlier form, which we have here, the musical loss is considerable; but what I found particularly interesting in this recording of the work was the entirely different line accompanying the two horns in Trio II, since it is violins not oboes which complete the texture in this case. The variants in Concertos Nos. 2, 3 and 4 are much smaller by comparison; Hogwood, unlike Dart, understands the flauti d'echo of the Fourth Concerto as treble recorders rather than sopranino members of the family. In Concerto No. 5 he uses the manuscript parts of Bach's pupil, Altnickol, which differ considerably from Bach's fair copy. Altnickol's version scores the work for harpsichord, flute and violin concertato, with the accompaniment of violin, viola and violone but without the cello of the Brandenburg version. The harpsichord solo of the first movement is much shorter, ending with some striking chromaticisms; the slow movement is marked Adagio rather than Affettuoso and, as in the fair copy, the soloists play alone. One of the most interesting features of this set concerns the size and nature of the bass stringed instruments. Hogwood, basing his ideas on those of Laurence Dreyfus in an unpublished thesis, uses three different instruments. In Concertos Nos. 1 and 3 a 16' instrument is used whilst for Concertos Nos. 2 and 6 an 8' sound has been chosen; a contrabass instrument is used for Concerto No. 4, and a smaller violone for Concerto No. 5. I think it unlikely that any Bach lover will want to miss an opportunity of becoming acquainted with these earlier thoughts on six works which rest on the pinnacle of baroque instrumental music. I think it equally unlikely that having done so, he will wish to distance himself from Bach's presentation version with its greater quantity of music and additional refinements. At their best the performances are polished and stylish; the recorded sound is very clear, too, capturing the character of almost each instrument in what seems to me to be an almost ideally resonant acoustic; there is really very little to choose between the LP and CD versions in terms of sound. Since, in each concerto, there is virtually one instrument to a part it is impossible to single out all the performers deserving of mention. In general they comprise a body of players which has worked together over a number of years and this has paid off handsomely in interepretative rapport as we can hear, for example, in the viola partnership of Jan Schlapp and Trevor Jones in the Sixth Concerto. I also applaud the prominence given to the important horn parts in the opening movement of Concerto No. 1. I found this a worthwhile and fascinating issue. Strongly recommended as a compendium to any recording of Bach's offering to the Margrave.'

Christopher Hogwood & The Academy Of Ancient Music • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDVYzwp2EWFsAHD8xlaJmjLv Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm- www.gramophone.co.uk/reviews/review?slug=bach-brandenburg-concertos-20 Magazine Review Date: 4/1985 Nicholas Anderson This new set of Bach's most famous concertos does not have to compete with any of the others presently on the market for it is based on sources which predate the fair copy which Bach dedicated to the Margrave of Brandenburg in 1721. It is not the first time that such an enterprise has found its way on to gramophone records and many readers will doubtless remember Thurston Dart's pioneering work, along similar lines of thought, which resulted in recordings issued by Philips during the early 1970s. The differences, both large and small, between Bach's fair copy of the six Brandenburg Concertos and the earlier forms are too numerous to discuss fully in these pages, but they are dealt with in Christopher Hogwood's interesting introductory essay which accompanies the set. In it he draws attention not only to the considerable number of variant readings which exist-there are, for instance, no less than 13 sources for Concerto No. 5 in D major-but also to the scale of performances which Bach envisaged and the size and nature of the instruments themselves. Hogwood does not pretend to solve all the problems but his investigative mind and lively musicianship often point our thoughts in new directions; in this he is greatly assisted by a small group of players who have achieved performances possessing a greater degree of finesse than I have sometimes found in past releases. The greatest discrepancies between earlier sources and the present version of the Brandenburgs occur in Concerto No. 1 in F major. In its pre-Brandenburg state, copied by Christian Friedrich Penzel, the work consisted of an opening Allegro followed by an Adagio and a Menuet with two Trios. These movements are common to both versions; in the fair copy Bach added a second Allegro, a Polacca or Polonaise, and redesignated the first violin line for a violino piccolo tuned a third higher than a standard violin. Thus, in the earlier form, which we have here, the musical loss is considerable; but what I found particularly interesting in this recording of the work was the entirely different line accompanying the two horns in Trio II, since it is violins not oboes which complete the texture in this case. The variants in Concertos Nos. 2, 3 and 4 are much smaller by comparison; Hogwood, unlike Dart, understands the flauti d'echo of the Fourth Concerto as treble recorders rather than sopranino members of the family. In Concerto No. 5 he uses the manuscript parts of Bach's pupil, Altnickol, which differ considerably from Bach's fair copy. Altnickol's version scores the work for harpsichord, flute and violin concertato, with the accompaniment of violin, viola and violone but without the cello of the Brandenburg version. The harpsichord solo of the first movement is much shorter, ending with some striking chromaticisms; the slow movement is marked Adagio rather than Affettuoso and, as in the fair copy, the soloists play alone. One of the most interesting features of this set concerns the size and nature of the bass stringed instruments. Hogwood, basing his ideas on those of Laurence Dreyfus in an unpublished thesis, uses three different instruments. In Concertos Nos. 1 and 3 a 16' instrument is used whilst for Concertos Nos. 2 and 6 an 8' sound has been chosen; a contrabass instrument is used for Concerto No. 4, and a smaller violone for Concerto No. 5. I think it unlikely that any Bach lover will want to miss an opportunity of becoming acquainted with these earlier thoughts on six works which rest on the pinnacle of baroque instrumental music. I think it equally unlikely that having done so, he will wish to distance himself from Bach's presentation version with its greater quantity of music and additional refinements. At their best the performances are polished and stylish; the recorded sound is very clear, too, capturing the character of almost each instrument in what seems to me to be an almost ideally resonant acoustic; there is really very little to choose between the LP and CD versions in terms of sound. Since, in each concerto, there is virtually one instrument to a part it is impossible to single out all the performers deserving of mention. In general they comprise a body of players which has worked together over a number of years and this has paid off handsomely in interepretative rapport as we can hear, for example, in the viola partnership of Jan Schlapp and Trevor Jones in the Sixth Concerto. I also applaud the prominence given to the important horn parts in the opening movement of Concerto No. 1. I found this a worthwhile and fascinating issue. Strongly recommended as a compendium to any recording of Bach's offering to the Margrave.'

Henryk Szeryng • J.S. Bach • Violin Concertos • Recorded 1965 kzfaq.info/sun/PLpT0iJjEyPDWt76uY8h6wqWAj-XtAxJkb Henryk Szeryng • J.S. Bach • Violin Concertos • Recorded 1976 kzfaq.info/sun/PLpT0iJjEyPDWQLWTUseFJ75UsX1p44ln8 Henryk Szeryng • Violin Concertos kzfaq.info/sun/PLpT0iJjEyPDV7pSYAI9ltfm8buqVSf-5T

Henryk Szeryng • J.S. Bach • Violin Concertos • Recorded 1965 kzfaq.info/sun/PLpT0iJjEyPDWt76uY8h6wqWAj-XtAxJkb Henryk Szeryng • J.S. Bach • Violin Concertos • Recorded 1976 kzfaq.info/sun/PLpT0iJjEyPDWQLWTUseFJ75UsX1p44ln8 Henryk Szeryng • Violin Concertos kzfaq.info/sun/PLpT0iJjEyPDV7pSYAI9ltfm8buqVSf-5T

Henryk Szeryng • J.S. Bach • Violin Concertos • Recorded 1965 kzfaq.info/sun/PLpT0iJjEyPDWt76uY8h6wqWAj-XtAxJkb Henryk Szeryng • J.S. Bach • Violin Concertos • Recorded 1976 kzfaq.info/sun/PLpT0iJjEyPDWQLWTUseFJ75UsX1p44ln8 Henryk Szeryng • Violin Concertos kzfaq.info/sun/PLpT0iJjEyPDV7pSYAI9ltfm8buqVSf-5T

En mi opinión, esta es y sigue siendo la mejor versión de este concierto. No sé por qué hoy en día los directores lo hacen más rápido.

Buenísima....🎉🎉🎉🎉🎉❤❤❤❤❤❤❤❤

Superb

I always prefered Harnoncourt over Hogwood and Gardiner

Прекрасная коллекция! Спасибо, Михаил!

Nikolaus Harnoncourt & Concentus musicus Wien • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDWaTREG5IDDALpjbKLKKeOL Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm-

Beautiful baroque.

Nikolaus Harnoncourt & Concentus musicus Wien • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDWaTREG5IDDALpjbKLKKeOL Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm-

Nikolaus Harnoncourt & Concentus musicus Wien • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDWaTREG5IDDALpjbKLKKeOL Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm-

Nikolaus Harnoncourt & Concentus musicus Wien • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDWaTREG5IDDALpjbKLKKeOL Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm-

Nikolaus Harnoncourt & Concentus musicus Wien • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDWaTREG5IDDALpjbKLKKeOL Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm-

Nikolaus Harnoncourt & Concentus musicus Wien • J.S. Bach • Brandenburg Concertos kzfaq.info/sun/PLpT0iJjEyPDWaTREG5IDDALpjbKLKKeOL Johann Sebastian Bach kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm-

I had the great honor of meeting this genius, and attending her concert and master classes in France in 1987. You can and should all envy me.

Immenso Arrau, sconfinato Giulini

Immensément beau dans la douceur et la douleur. On ne se lassera jamais… Merci Monsieur Mozart

Henryk Szeryng & Artur Rubinstein • Brahms • Violin Sonatas kzfaq.info/sun/PLpT0iJjEyPDVg-J3WPk3Z7qFsWwId0RHt kzfaq.info/sun/PLpT0iJjEyPDViqqomIF2ryX52evSCEFnw Видео заблокировано в следующих странах: Россия

Henryk Szeryng & Artur Rubinstein • Brahms • Violin Sonatas kzfaq.info/sun/PLpT0iJjEyPDVg-J3WPk3Z7qFsWwId0RHt kzfaq.info/sun/PLpT0iJjEyPDViqqomIF2ryX52evSCEFnw

Henryk Szeryng & Artur Rubinstein • Brahms • Violin Sonatas kzfaq.info/sun/PLpT0iJjEyPDVg-J3WPk3Z7qFsWwId0RHt kzfaq.info/sun/PLpT0iJjEyPDViqqomIF2ryX52evSCEFnw Видео заблокировано в следующих странах: Россия

Muchas Gracias por compartir este concierto histórico. Me facinan: Beethove, Arrau y Klemperer.

I heard Szeryng play this at the Royal Festival Hall in the70’s and it was spectacular. Made an enormous impression on myself and another violin student who was with me!

sublime, ma meilleure version !

28:45 That 28/18 really feels like Suicide, as the piece is dubbed.

He escuchado infinidad de veces las cuatro estaciones (invierno) .... En infinidad de versiones..... Pero con Szering y esta interpretacion parece que TODO suena nuevo. Como hecho con acierto por primera vez BELLEZA.❤

Excellently!

Henryk Szeryng • Violin Concertos kzfaq.info/sun/PLpT0iJjEyPDV7pSYAI9ltfm8buqVSf-5T

The best! Far better than any of his commercial recordings. Magical: the transitions between G and e minor (using B as a pivotal note) and D and b minor. The b-flat minor as Arrau does it is the ideal -- not easy at all…..in his case, miraculous. Arrau lives through these!

Arrau/Klemperer: a union Made in Heaven.

GENIUS.

kzfaq.info/sun/PLpT0iJjEyPDUdYIgK2hqLtbAkFllkWKkL kzfaq.info/sun/PLpT0iJjEyPDX8UIgG8vWvuGX9ZwZRynm- www.henrykszeryng.net/talking-about www.amazon.com/Bach-J-S-Sonatas-Partitas-Violin/dp/B000026G9R/ref=cm_cr_arp_d_product_top?ie=UTF8 Shooshie 5.0 out of 5 stars Some of the greatest recordings on earth. Reviewed in the United States on December 4, 2020 This review is for the Bach Violin Partitas & Sonatas for solo violin, performed by Henryk Szeryng originally on Columbia in 1955. I do not know why this set has not been available in mainstream channels, but I had to order this copy from Japan to have it at all on CD. I’ve looked and looked for this set since the advent of digital audio media in the early 1980s, but I was never able to find it. There were rumors of it being here or there, but I always missed it. Now I have it, and I feel like the curse of digital audio has been lifted, at least enough to allow another of the treasures of the “old world” to survive. This was one of the best performances ever recorded of these works. That’s an unsupportable statement in words alone; you have to hear it to understand. Szeryng’s later re-recording of the works for Deutsch Gramophone were also among the best, but they weren’t the same as these. The later recordings were more cerebral, while these early recordings had the fire of youth in them. I came very close to meeting Szeryng in Mexico City, but he was not feeling well that day, so it didn’t happen. The next time I was there playing with the Symphony, he had died. I’m not big on meeting my heroes, because they are heroic for their playing, not talking, but Szeryng was one of my biggest influences. Truly one of the best. I wish I’d been able to thank him. That’s all. I just want to say “thank you, Maestro, for teaching me so much about music in these masterful performances.” He was a great man and an immortal violinist. If you can get this set of recordings, you will not be disappointed. Some of the most incredible playing in history. If you can’t get these, I recommend Julia Fischer, whose playing sounds as if she were heavily influenced by Szeryng, but also with qualities of her own, such as a beautiful spinning vibrato on her releases, plus sculpted releases that enable the energy to be transported to the end of the line without interruption of the individual phrases. She’s a marvelous player, too. And she sounds a little like Heifetz at times. Can’t fault someone for that! But I still love these old Szeryng recordings more than any other on the planet, and I’ve heard dozens of performers do these on recordings and live in concert. These are special recordings. Treat them as such.

¡Enorme Arrau! Y el resto de intérpretes, claro. Sólo conocía su interpretación con Colin Davis, que tengo en un altar, pero creo que habrá que poner ambas en paralelo. Un altar al lado del otro.