JS Bach: Harpsichord Concertos Vol 1
Fabio Bonizzoni, La Risonanza
Challenge Classics CC72773. 63’07
Concerto No. 1 in D Minor, BWV 1052
Concerto No. 2 in E Major, BWV 1053
Concerto No. 4 in A Major, BWV 1055
Concerto No. 5 in F Minor, BWV 1056
This is the first volume in a series of recordings of Bach’s harpsichord concertos from La Risonanza and Fabio Bonizzoni. La Risonanza play one-to-a-part with just two violins, viola, cello and violone. The pieces date from the 1730s and Bach’s time in Leipzig. He directed the Collegium musicum which gave weekly performances at the Café Zimmermann. We know that in 1733 a new harpsichord arrived and it seems this was the impetus for these concertos. Several of them draw from earlier material, the opening D Minor Concerto having a history going back about 20 years before the autograph copy used for this recording.
Tage Alter Musik Regensburg 2019
Bavaria, Germany. 7-10 June 2019
The Regensburg Tage Alter Musik festival takes place annually from Friday to Monday over the Pentecost/Whitsun weekend, whose dates move linked to Easter. The 2019 festival, the 35th, took place over the weekend of 7-10 June, rather later than in previous years and the latest Pentecost weekend until 2030. With 15 concerts over these four days, it is a total immersion of early music performed in some spectacular buildings in Regensburg city centre. The historic city of Regensburg has its roots in the Celtic settlement of Radasbona and the Roman Castra Regina fort, remnants of which can still be seen. It was the early Medieval capital of Bavaria. The 12th-century bridge over the Danube increased its importance as a Free Imperial City within the Holy Roman Empire. It adopted the Reformation in 1542 but retained its Catholic Cathedral and Abbeys. From 1663 to 1806, it was the permanent seat of the Imperial Diet of the Holy Roman Empire, the so-called ‘Perpetual Diet’. The whole of the historic city centre is now a World Heritage Site. Continue reading
As the 2015 London Festival of Baroque Music approaches, I thought I would re-publish my review of last year’s festival, under the then title of the Lufthansa Festival of Baroque Music.
“This year’s Lufthansa Festival (the 30th) marked the end of an era. It was the last to benefit from the 30-year sponsorship of Lufthansa (and, for the past 12 years, also Rolls-Royce plc), one of the most remarkable musical/financial partnerships in the modern history of music. The Festival will continue with the same wealth of performers and performances under the name of the London Festival of Baroque Music, and is seeking funding Continue reading