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Harpsichord Concertos Vol. 1
Johann Sebastian Bach

Fabio Bonizzoni | La Risonanza

Harpsichord Concertos Vol. 1

Price: € 19.95 13.97
Format: SACD
Label: Challenge Classics
UPC: 0608917277326
Catnr: CC 72773
Release date: 04 May 2018
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Label
Challenge Classics
UPC
0608917277326
Catalogue number
CC 72773
Release date
04 May 2018

"Contagious rhythms, set in passionate teamwork, in combination with a perfect sound reproduction, makes this recording into a party."

Stretto, 10-4-2019
Album
Artist(s)
Composer(s)
Press
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About the album

This is the first volume in a complete survey of Bach’s harpsichord concertos, recorded by La Risonanza in one-to-a-part practice performance.

With his Fifth Brandenburg Concerto of 1719, Bach had created the first ever harpsichord concerto. From 1729, in Leipzig, the opportunity arose to continue this experiment: each week at Café Zimmermann he conducted his Collegium musicum in orchestral concerts that lasted around two hours. In the summer of 1733, he took delivery of “a new harpsichord, the like of which has not been heard before around here”. This magnificent instrument, which featured at the Zimmermann concerts, urgently called for concertos to be played by himself as soloist, and even more so his sons and students. Not only in Saxony but also well beyond, Bach was considered to be the absolute authority in all things harpsichord and organ; he thus had to make his own contribution to the emerging genre of the “clavier concerto”. The manuscript of his six harpsichord concertos BWV1052 to 1057 should therefore be understood as a repertoire collection for his Collegium musicum, and as a compositional manifesto.

Within the six concertos, each work takes on a specific function: The D minor concerto is the longest, most virtuosic and most Italianate of the collection. The stormy and sombre concerto is followed by the serene and cantabile E major concerto which, as Joshua Rifkin has convincingly argued, may well be based on a lost oboe concerto in E flat major
Whilst the concertos in D minor and E major are substantial works, the concertos in A major and F minor are far more compact. Both display noticeable influences of the galant style and were therefore probably not written before 1730.

Fabio Bonizzoni, een van de meest getalenteerde en fantasievolle klavecinisten van deze tijd, en zijn ensemble La Risonanza hebben twee albums opgenomen met alle klavecimbelconcerten van Johann Sebastian Bach. In dit succesvolle eerste deel horen we de concerten BWV 1052, BWV 1053, BWV 1055 en BWV 1056. Bonnizzoni heeft geloofwaardig werk verricht. In de uitvoering van deze concerto's horen we de zeldzame praktijk waarbij elke partij door slechts één instrument gespeeld wordt. Op die manier wordt een kamermuzikaal karakter gecreëerd. Fabio Bonizzoni overtuigt met een visie waarbij geen muzikale strijd gevoerd wordt tussen solist en ensemble, maar alle instrumenten een hecht geheel vormen.

Compositorisch manifest

Met zijn Vijfde Brandenburgse Concert uit 1719 creëerde Bach het eerste klavecimbelconcert ooit. Vanaf 1729 kreeg hij de gelegenheid om dit experiment voort te zetten: in Café Zimmermann in Leipzig dirigeerde hij elke week zijn Collegium musicum in orkestrale concerten die rond de twee uur duurden. In de zomer van 1733 kreeg de componist de beschikking over een nieuw soort instrument met een toentertijd onbekende klank. Of het een forte-piano was of een net geïntroduceerd instrument, clacimbel genoemd, met een andere mechaniek dan forte en piano, daar zijn de meningen nog steeds over verdeeld, maar dat het instrument een prachtige klank had daarvan was iedereen overtuigd. Dit nieuwe instrument werd tijdens de Zimmermann-concerten gebruikt en vroeg welhaast om concerten die door Bach zelf, of zijn zoons of studenten als solisten gespeeld moesten worden. Bach werd niet alleen in Saksen, maar ook ver daarbuiten beschouwd als de absolute autoriteit op het gebied van klavecimbel en orgel; hij moest dus wel zijn eigen bijdrage leveren aan het opkomende genre van het “klavierconcert”. Het manuscript van zijn zes klavecimbelconcerten BWV 1052 tot 1057 moet dan ook beschouwd worden als een repertoirecollectie voor zijn Collegium musicum, en als een compositorisch manifest.

Specifieke functies

Elk van de zes concerten in het manuscript heeft een specifieke functie: Het concert BWV 1052 in d-klein, geschreven rond 1738, is het langste, meest virtuoze en meest Italiaanse van de collectie. Het stormachtige en sombere concert wordt gevolgd door BWV 1053, het serene cantabile-concert in E-groot uit Bachs Köthen-periode rond 1720 dat, zoals Joshua Rifkin met overtuiging beweert, mogelijk op een verloren hoboconcert in Es groot gebaseerd is. Terwijl de concerten in d-klein en E-groot omvangrijke werken zijn, zijn de concerten in BWV 1055 A-groot en BWV 1056 f-klein veel compacter. Beide vertonen duidelijke invloeden van de galante stijl en zijn om die reden waarschijnlijk niet gecomponeerd voor 1730.

Fabio Bonizzoni

De Italiaanse dirigent Fabio Bonizzoni studeerde cum laude af in orgel en klavecimbel. In 1987 kwam hij naar Nederland om verder te studeren aan het Koninklijk Conservatorium in Den Haag. Na enkele jaren met bekende barokorkesten gespeeld te hebben, richtte hij zijn eigen ensemble La Risonanza op.

Lees op MeloMe ook de ingekorte versie van een artikel van Michel Dutrieue van Stretto over de twee albums van La Risonanza met de klavierconcerten van Bach.
Dies ist die erste CD einer umfassenden Betrachtung von Bachs Cembalokonzerten, aufgenommen von La Risonanza mit Einzelbesetzung aller Stimmen.

Mit seinem Fünften Brandenburger Konzert aus dem Jahre 1719 schuf Bach das erste Cembalokonzert. 1729 ergab sich in Leipzig die Gelegenheit, dieses Experiment fortzusetzen: Wöchentlich dirigierte er im Café Zimmermann sein Collegium musicum in etwa zweistündigen Orchesterkonzerten. Im Sommer 1733 lieferte man ihm ein neues Cembalo, wie man dort zuvor noch keines gehört hatte. Dieses prächtige Instrument, das auch in den Zimmermann-Konzerten zu hören war, verlangte nach Konzerten, die Bach selbst, seine Söhne sowie seine Schüler als Solisten interpretierten. Bach galt weit über die Landesgrenzen Sachsens hinaus als absoluter Experte was das Cembalo und die Orgel betraf. So musste auch er seinen Beitrag zur sich entwickelnden Gattung des „Clavierkonzertes“ leisten. Das Manuskript zu seinen sechs Cembalokonzerten BWV 1052 und BWV 1057 sollten daher als Repertoiresammlung für sein Collegium musicum verstanden werden, und auch als kompositorisches Manifest.

Innerhalb der sechs Konzerte hat jedes Werk besondere Funktion inne: Das d-Moll-Konzert ist das längste, virtuoseste und italienischste der Sammlung. Auf das stürmische und düstere Moll-Konzert folgt das unbeschwerte, cantabile-Konzert in E-Dur, das, wie Joshua Rifkin überzeugend argumentiert, womöglich auf einem verlorenen Oboenkonzert in Es-Dur basiert.
Während diese beiden Konzerte von großer Substanz sind, sind die Konzerte in A-Dur und f-Moll deutlich kompakter. Beide zeigen deutliche Einflüsse des galanten Stils und entstanden wahrscheinlich nicht vor 1730.

Artist(s)

Fabio Bonizzoni (conductor)

Fabio Bonizzoni is considered one of the leading Italian harpsichordists and organists of his generation. His playing has been defined as “Bright and buoyant, with no tricks […] but plenty of energy and brilliance” (Gramophone).    Having graduated in baroque organ and harpsichord at the Royal Conservatory of The Hague in Ton Koopman’s class, he played for several years with some of the most important baroque orchestras of our times, in particular with the Amsterdam Baroque Orchestra, Le Concert des Nations and Europa Galante. Since 2004, he exclusively devotes himself to his activities as soloist and director, in particular of his own orchestra La Risonanza.   His impressive discography includes works by Claudio Merulo, Giovanni Salvatore, Giovanni Picchi, Francesco Geminiani, Bernardo Storace, Domenico Scarlatti, Johann Sebastian Bach (Goldberg Variations and the Art of Fugue), Girolamo Frescobaldi (First and Second Book of Toccatas).   With La Risonanza he has completed the project of recording all the...
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Fabio Bonizzoni is considered one of the leading Italian harpsichordists and organists of his generation. His playing has been defined as “Bright and buoyant, with no tricks […] but plenty of energy and brilliance” (Gramophone). Having graduated in baroque organ and harpsichord at the Royal Conservatory of The Hague in Ton Koopman’s class, he played for several years with some of the most important baroque orchestras of our times, in particular with the Amsterdam Baroque Orchestra, Le Concert des Nations and Europa Galante. Since 2004, he exclusively devotes himself to his activities as soloist and director, in particular of his own orchestra La Risonanza.
His impressive discography includes works by Claudio Merulo, Giovanni Salvatore, Giovanni Picchi, Francesco Geminiani, Bernardo Storace, Domenico Scarlatti, Johann Sebastian Bach (Goldberg Variations and the Art of Fugue), Girolamo Frescobaldi (First and Second Book of Toccatas).
With La Risonanza he has completed the project of recording all the Italian Cantatas with instruments by G.F. Handel: this project has been named by the Gramophone Magazine the most important of the decade, and 3 of the 7 CDs of the collection have been awarded the prestigious Handel Stanley Sadie Prize. The last disc of this series, Apollo e Dafne, won the Gramophone Award.
Since 2016, he and La Risonanza are recording for Challenge Classics: a Purcell’s Dido and Aeneas and two volumes of Bach harpsichord concertos have appeared so far.
His activity is also enriched by commitments as guest conductor both of baroque and modern orchestras. Since 2014 he is artistic director of Note Etiche, a festival focusing on links between music, ethics and sustainability and, since 2016, he and his orchestra enjoy artistic residency at Palazzina Liberty in their hometown Milan.


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La Risonanza

Founded by Fabio Bonizzoni in 1995 as a vocal and instrumental group, La Risonanza is now a chamber orchestra on period instruments. It has a flexible instrumentation depending upon the repertoire performed and it occasionally collaborates with guest choirs for performances of larger works. The ensemble particularly focuses its attention on Italian style music composed between the end of the 17th and the first half of the 18th Century. La Risonanza’s recording career started in 1996 with an album completely devoted to Girolamo Frescobaldi. Subsequently it produced albums with the Missa Non sine quare of Johann Caspar Kerll, Barbara Strozzi and Luigi Rossi cantatas, Giuseppe Sammartini, Michel Corrette and Franz Joseph Haydn organ concertos. The group regularly performs in all major European...
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Founded by Fabio Bonizzoni in 1995 as a vocal and instrumental group, La Risonanza is now a chamber orchestra on period instruments. It has a flexible instrumentation depending upon the repertoire performed and it occasionally collaborates with guest choirs for performances of larger works. The ensemble particularly focuses its attention on Italian style music composed between the end of the 17th and the first half of the 18th Century.
La Risonanza’s recording career started in 1996 with an album completely devoted to Girolamo Frescobaldi. Subsequently it produced albums with the Missa Non sine quare of Johann Caspar Kerll, Barbara Strozzi and Luigi Rossi cantatas, Giuseppe Sammartini, Michel Corrette and Franz Joseph Haydn organ concertos.
The group regularly performs in all major European venues and festivals, including Festival of Utrecht and Amsterdam’s Muziekgebouw, Festival of Cuenca and Madrid’s Auditorio, Händel Festspiele Halle, Concertgebouw Brugge, Società del Quartetto of Milan and MITO, Accademia di Santa Cecilia in Rome and GOG Society in Genoa.
La Risonanza is “Orchestra in residence” at the festival of Saint-Michel en Thiérache and, since 2016, at the Palazzina Liberty of Milan.
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Jorge Jimenez (violin)

Jorge's passion for the violin and for music of the highest quality has lead him to direct, conduct and lead international ensembles throughout Europe such as Odissea, Tercia Realidad, Opera Vlaanderen, Capella Cracoviensis, Orquesta de Extremadura and the Hanover Band. He is renowned for his thorough and exciting approach, performing music in the style and on the instruments it was intended for, from Medieval to 21st century.
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Jorge's passion for the violin and for music of the highest quality has lead him to direct, conduct and lead international ensembles throughout Europe such as Odissea, Tercia Realidad, Opera Vlaanderen, Capella Cracoviensis, Orquesta de Extremadura and the Hanover Band. He is renowned for his thorough and exciting approach, performing music in the style and on the instruments it was intended for, from Medieval to 21st century.

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Ulrike Slowik (violin)

Krishna Nagaraja (viola)

Violinist, violist, composer, arranger, formerly also singer and beatboxer, Krishna Nagaraja has always approached music from many different directions. Over the years, his musical path led him to the baroque violin and viola, performing with renowned groups in his native Italy and abroad. His passion for traditional music also steered him towards Irish, Scottish, Breton and Nordic folk music. In 2012 he moved to Helsinki to attend a Master’s Degree in Global Music (GLOMAS) at the Sibelius Academy. Within its framework he experimented with the interaction between musical genres and styles, mixing folk with baroque and contemporary music in original arrangements and compositions. This activity gave birth to projects like Biviola, a viola duo performing his arrangements of Nordic folk...
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Violinist, violist, composer, arranger, formerly also singer and beatboxer, Krishna Nagaraja has always approached music from many different directions. Over the years, his musical path led him to the baroque violin and viola, performing with renowned groups in his native Italy and abroad. His passion for traditional music also steered him towards Irish, Scottish, Breton and Nordic folk music. In 2012 he moved to Helsinki to attend a Master’s Degree in Global Music (GLOMAS) at the Sibelius Academy. Within its framework he experimented with the interaction between musical genres and styles, mixing folk with baroque and contemporary music in original arrangements and compositions. This activity gave birth to projects like Biviola, a viola duo performing his arrangements of Nordic folk tunes, and his main brainchild Brú, a kaleidoscopic international group whose leadership has brought his music to several European festivals (MA Early Music Bruges, Filharmonia Warszawa, MiTo Settembre Musica, East Cork Early Music Festival, Cafe Barock Finland).

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Caterina Dell’Agnello (cello)

Italian classical cellist.
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Italian classical cellist.

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Nicola Dal Maso (violin)

Nicola Dal Maso is known for his work on Il trionfo del Tempo e del Disinganno 
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Nicola Dal Maso is known for his work on Il trionfo del Tempo e del Disinganno
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Composer(s)

Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.  Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.  
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Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.


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Press

Contagious rhythms, set in passionate teamwork, in combination with a perfect sound reproduction, makes this recording into a party.
Stretto, 10-4-2019

The Challenge Classics recording, as heard from the high-definition stereo layer is very good – clear but warm.
MusicWeb international, 02-11-2018

Harpsichordist Fabio Bonizzoni does a credible job in integrating the concertos so that they appear not as a soloist versus the ensemble, but rather as an integral part. 
Fanfare, 01-11-2018

Natural and uncomplicated. In Bach that's a pretty good balance to bave.
Gramophone, 03-9-2018

Bonizzoni chose a one-to-a-part performance...an option that - also thanks to the superb quality of the recording - doesn't jeopardize the presence, the drama nor the expressivity of these works, while it extolling some details, the rhetoric, some magic moment: like in the Adagio of the BWV 1056.  
Amadeus Magazine, 03-8-2018

Inspired performances with a remarkably warm and well textured sound.
Pizzicato, 05-6-2018

Extremely colorful and dynamic, with a lot of energy, but also with rhythmic sophistication.
Opus Klassiek, 18-5-2018

Catchy rhythms, driven encased combination, coupled with perfect sound reproduction, make this recording a feast. The Italian musician Bonizzoni leads his ensemble perfectly to the example of Bach, who composed his concerti according to the Italian model. Quality assured!
Stretto, 05-5-2018

Play album Play album
01.
Harpsichord Concerto No. 1 in D Minor, BWV 1052: I. Allegro
07:36
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
02.
Harpsichord Concerto No. 1 in D Minor, BWV 1052: II. Adagio
05:47
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
03.
Harpsichord Concerto No. 1 in D Minor, BWV 1052: III. Allegro
07:54
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
04.
Harpsichord Concerto No. 2 in E Major, BWV 1053: I. [no tempo marking]
08:04
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
05.
Harpsichord Concerto No. 2 in E Major, BWV 1053: II. Siciliano
04:07
(Johann Sebastian Bach) Ulrike Slowik, Jorge Jimenez, La Risonanza, Fabio Bonizzoni, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
06.
Harpsichord Concerto No. 2 in E Major, BWV 1053: III. Allegro
06:53
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Nicola Dal Maso, Caterina Dell’Agnello
07.
Harpsichord Concerto No. 4 in A Major, BWV 1055: I. Allegro
04:23
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
08.
Harpsichord Concerto No. 4 in A Major, BWV 1055: II. Larghetto
04:24
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
09.
Harpsichord Concerto No. 4 in A Major, BWV 1055: III. Allegro ma non tanto
04:30
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
10.
Harpsichord Concerto No. 5 in F Minor, BWV 1056: I. [no tempo marking]
03:29
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
11.
Harpsichord Concerto No. 5 in F Minor, BWV 1056: II. Largo
02:16
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
12.
Harpsichord Concerto No. 5 in F Minor, BWV 1056: III. Presto
03:34
(Johann Sebastian Bach) Fabio Bonizzoni, La Risonanza, Jorge Jimenez, Ulrike Slowik, Krishna Nagaraja, Caterina Dell’Agnello, Nicola Dal Maso
show all tracks

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