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Bach: Transcriptions of Concertos by Vivaldi / Sophie Yates, harpsichord

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> Keyboard Concerto in D major, BWV 972 (arr. of Vivaldi's Violin Concerto in D major, RV 230) - I. [Allegro]
> Keyboard Concerto in D major, BWV 972 (arr. of Vivaldi's Violin Concerto in D major, RV 230) - II. Larghetto
> Keyboard Concerto in D major, BWV 972 (arr. of Vivaldi's Violin Concerto in D major, RV 230) - III. Allegro
> Keyboard Concerto in G major, BWV 973 (arr. of Vivaldi's Violin Concerto in G major, RV 299) - I. [Allegro]
> Keyboard Concerto in G major, BWV 973 (arr. of Vivaldi's Violin Concerto in G major, RV 299) - II. Largo
> Keyboard Concerto in G major, BWV 973 (arr. of Vivaldi's Violin Concerto in G major, RV 299) - III. Allegro
> Keyboard Concerto in D minor, BWV 974 (after A. Marcello's Oboe Concerto) - I. [Andante]
> Keyboard Concerto in D minor, BWV 974 (after A. Marcello's Oboe Concerto) - II. Adagio
> Keyboard Concerto in D minor, BWV 974 (after A. Marcello's Oboe Concerto) - III. Presto
> Keyboard Concerto in G minor, BWV 975 (arr. of Vivaldi's Violin Concerto in G minor, RV 316) - I. [Allegro]
> Keyboard Concerto in G minor, BWV 975 (arr. of Vivaldi's Violin Concerto in G minor, RV 316) - II. Largo
> Keyboard Concerto in G minor, BWV 975 (arr. of Vivaldi's Violin Concerto in G minor, RV 316) - III. Gigue: Presto
> Keyboard Concerto in C major, BWV 976 (arr. of Vivaldi's Violin Concerto in E major, RV 265) - I. [Allegro]
> Keyboard Concerto in C major, BWV 976 (arr. of Vivaldi's Violin Concerto in E major, RV 265) - II. Largo
> Keyboard Concerto in C major, BWV 976 (arr. of Vivaldi's Violin Concerto in E major, RV 265) - III. Allegro
> Keyboard Concerto in F major, BWV 978 (arr. of Vivaldi's Violin Concerto in G major, RV 310) - I. Allegro
> Keyboard Concerto in F major, BWV 978 (arr. of Vivaldi's Violin Concerto in G major, RV 310) - II. Largo
> Keyboard Concerto in F major, BWV 978 (arr. of Vivaldi's Violin Concerto in G major, RV 310) - III. Allegro
> Keyboard Concerto in G major, BWV 980 (arr. of Vivaldi's Violin Concerto in B flat major, RV 381) - I. [Allegro]
> Keyboard Concerto in G major, BWV 980 (arr. of Vivaldi's Violin Concerto in B flat major, RV 381) - II. Largo
> Keyboard Concerto in G major, BWV 980 (arr. of Vivaldi's Violin Concerto in B flat major, RV 381) - III. Allegro
> Keyboard Concerto in C minor, BWV 981 (arr. of B. Marcello's Concerto, Op. 1, No. 2) - I. Adagio
> Keyboard Concerto in C minor, BWV 981 (arr. of B. Marcello's Concerto, Op. 1, No. 2) - II. Vivace
> Keyboard Concerto in C minor, BWV 981 (arr. of B. Marcello's Concerto, Op. 1, No. 2) - III. [Adagio]
> Keyboard Concerto in C minor, BWV 981 (arr. of B. Marcello's Concerto, Op. 1, No. 2) - IV. Prestissimo

Notes & Reviews:

This recording brings together all the harpsichord arrangements by Bach of instrumental concertos by his Italian contemporary Antonio Vivaldi, adding those of one concerto each by the brothers Alessandro and Benedetto Marcello. Performed by Sophie Yates on harpsichord, she is described by Gramophone as "hugely talented."

American Record Guide, September/October 2013
Here are JS Bach's transcriptions of concertos by Vivaldi and Marcello. These pieces offer a fascinating glimpse into Bach's compositional methods. To get the full experience, try listening to the harpsichord pieces while reading along with the orchestral score (or vice versa). You will notice Bach's abundant additions to his Italian colleagues' music. He changes the register of some melodies, and perhaps most thrillingly, creates his own Italian- style embellishments (II of Marcello's Dminor Oboe Concerto is a fine example of this). Yates plays with poise and reserve. She is particularly effective in the slow movements.

Gramophone Magazine, August 2013
Performances that outclass most of the catalogue competition...Her finely honed legato technique shines in slow movements...Yates's informative, well-written notes complement the stylish sensitivity of her harpsichord artistry.

MusicWeb International, 27th August 2013
[Yates's playing] is decisive and sensitive. She responds as much to the music's inherent grandiloquence as to its measured lyric repose in slow movements...[the harpsichord] sounds really marvellous and lacks for nothing in subtlety.

BBC Music Magazine, October 2013
Yates gives a lively, fluent account of these showy pieces, always keeping in mind the importance of textural transparency.



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