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Bach: Solo Concertos, Reconstructed Concertos / Pommer, Suske, Schornsheim, Et Al


Release Date: 05/26/2009 
Label:  Phoenix Edition   Catalog #: 400   Spars Code: n/a 
Composer:  Johann Sebastian Bach
Performer:  Burkhard GlaetznerKarl SuskeChristine Schornsheim
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Number of Discs: 3 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews



BACH Reconstructed Concertos: in d, after BWV 146/1 & 2, BWV 188/1; in g, after BWV 1056/1 & 3; in d, after BWV 35/1, BWV 156/1, BWV 1056/2, BWV 1059; in c, after BWV 1060; in A, after BWV 1055; in d, after BWV 1052; in D, after BWV 1064; in D, Read more after BWV 1045; in D, after BWV 169/1 & 5, BWV 49/1, BWV 1053 Max Pommer, cond; Leipzig New Bach Collegium Musicum PHOENIX EDITION 400 (3 CDs: 137:51)


This three-disc set of Bach concerto reconstructions summons memories that now seem ancient of Max Pommer and his New Bach Collegium Musicum, a modern-instrument ensemble he founded in 1978 to promote the music of the Baroque. By that time, the period-instrument movement was well under way, with the groundbreaking recordings of Bach’s cantatas led by Harnoncourt and Leonhardt already harbingers of things to come. My memories, it turns out, are not quite as ancient as I thought they were, for these Phoenix Edition recordings, which originally appeared on the Capriccio label, were made in 1986.


One could base an entire monograph on the provenance of these concerto reconstructions, arguing for or against their legitimacy. But these recordings are not for those who are hung up on how a number of these patchwork concoctions came to be, or who are particularly concerned about matters of historical authenticity. Rather, they are for those who just love the sound of Bach’s music.


Let’s begin with the best known of these reconstructions, and the ones about which there now seems to be general scholarly agreement. The Concerto in C Minor for Violin and Oboe, BWV 1060, is now widely believed to be its original version, so this is most likely not a reconstruction. Bach transcribed it for performance as a harpsichord concerto by Telemann’s Collegium Musicum. Likewise, the Concerto in A Major for Oboe d’amore, BWV 1055, is also now generally accepted as being the original version. So this in all likelihood is not a reconstruction either. My guess is that 25 years ago when these recordings were made, these two concertos were better known in their harpsichord versions, and it was not as widely agreed that the versions heard here were in all probability the originals, which explains why these are included as reconstructions. It also explains why the two solo violin concertos in A Minor, BWV 1041, and E Major, BWV 1042, and the double concerto in D Minor for Two Violins, BWV 1043, are not included in this collection, since these have always been known to be their original versions.


With the Concerto in D Minor, BWV 1052, the opposite situation exists. It has long been known only in its harpsichord version; and though speculation is strong that it, too, was originally a violin concerto, a manuscript or published edition has not been found. This applies as well to the Concerto in D Major for Three Violins, which has always been known in its C-Major version for three harpsichords. Things get a bit messier with the D-Major Concerto for Oboe d’amore, BWV 1053. It’s better known in its guise as a harpsichord concerto in E Major, but in turn, is comprised of movements from cantatas, BWV 169 and BWV 49, both of which predate Bach’s autograph score of the concerto.


At this point, readers are probably rolling their eyes and asking themselves, “Who cares?” It’s like trying to figure out who is the second cousin twice removed of your mother’s sister’s aunt. As I intimated in the beginning, these recordings are not for those of the historically informed period-practice persuasion. There are many more recent period-instrument performances on recordings to choose from, either in their keyboard or “reconstructed” versions. Pommer and his Leipzig band bring to Bach’s music a wonderful blend of high spirits and a feeling of ennoblement. Soloists include Karl Suske, first chair violin of Berlin’s Suske Quartet and one-time concertmaster of the Berlin Staatskapelle Orchestra; Burkhard Glaetzner, one-time first oboist of the Leipzig Radio Symphony Orchestra, and Ludwig Güttler, one-time first trumpeter with the Dresden Philharmonia. They join with a number of other fine musicians in music-making of the highest caliber to bring you many hours of unalloyed pleasure, and all for a selling price of only $16.99 for three discs.


FANFARE: Jerry Dubins
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Works on This Recording

1.
Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146: Sinfonia in D minor by Johann Sebastian Bach
Performer:  Burkhard Glaetzner (Oboe), Karl Suske (Violin), Christine Schornsheim (Organ)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 
Written: 1728; Leipzig, Germany 
2.
Concerto for Violin in G minor, BWV 1056 by Johann Sebastian Bach
Performer:  Christine Schornsheim (Organ), Karl Suske (Violin)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 
3.
Concerto for Oboe in D minor, BWV 1059 by Johann Sebastian Bach
Performer:  Christine Schornsheim (Organ), Burkhard Glaetzner (Oboe)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 
4.
Concerto for Oboe and Violin in C minor, BWV 1060 by Johann Sebastian Bach
Performer:  Christine Schornsheim (Organ), Burkhard Glaetzner (Oboe), Karl Suske (Violin)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 
5.
Concerto for Oboe d'Amore in A major, BWV 1055 by Johann Sebastian Bach
Performer:  Burkhard Glaetzner (Oboe), Christine Schornsheim (Organ)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 
6.
Concerto for Violin in D minor, BWV 1052 by Johann Sebastian Bach
Performer:  Christine Schornsheim (Organ), Karl Suske (Violin)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 
Written: circa 1738-1739; Leipzig, Germany 
7.
Concerto for 3 Violins in D major, BWV 1064 by Johann Sebastian Bach
Performer:  Karl Suske (Violin), Christine Schornsheim (Organ)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 
Written: circa 1738-1739; Leipzig, Germany 
8.
Concerto movement in D major, BWV 1045 "Sinfonia" [fragment] by Johann Sebastian Bach
Performer:  Christine Schornsheim (Organ), Burkhard Glaetzner (Oboe)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 
Written: circa 1743-1746; Leipzig, Germany 
9.
Concerto for Oboe in F major, BWV 1053 by Johann Sebastian Bach
Performer:  Burkhard Glaetzner (Oboe), Christine Schornsheim (Organ)
Conductor:  Max Pommer
Orchestra/Ensemble:  Leipzig New Bach Collegium Musicum
Period: Baroque 

Customer Reviews

Average Customer Review:  2 Customer Reviews )
 Great listening! but where's ALL the Organ? July 19, 2012 By Wil L W. (Richwood, TX) See All My Reviews "I was really wanting this set for the ORGAN. The "listing of works" for this CD set on this website is misleading and does not appear to be accurate as far as instruments are concerned. The impression is that the organ appears in almost all these works, but in reality, the organ is featured in only one work (where it's good). However, none the less, great works, great sound, vibrant playing, make this three-CD set worth having even though I already have them in my collection. Delightful. Recommended." Report Abuse
 Bach Rocks! April 12, 2012 By Stephen E. Palmer III (Dayton, NV) See All My Reviews "The sublimely contrapuntal and propellantly pleasant musicality of Bach's solo concertos, envisioned over a period of 50 years, is ably and spiritedly recorded here in the Arkiv Phoenix Edition. Musicians of the New Bach Collegium Musicum of Leipsig do both justice and grace to the master. A great pleasure it is to enjoy this recording at a reasonable price. St. Even" Report Abuse
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