J. S. Bach Brandenburg Concertos Freiburger Barockorchester and Pablo Heras-Casado
- Johann Sebastian Bach (1685–1750): Brandenburgische Konzerte / Concerto no.1
- 1I. (Ohne Satzbezeichnung)03:53
- 2II. Adagio03:40
- 3III. Allegro03:51
- 4IV. Menuet - Trio I - Polonaise - Trio II06:31
- Concerto no.6
- 5I. (Ohne Satzbezeichnung)05:31
- 6II. Adagio ma non tanto04:05
- 7III. Allegro05:39
- Concerto no.2
- 8I. (Ohne Satzbezeichnung)04:49
- 9II. Andante04:05
- 10III. Allegro assai02:38
- Concerto no.3
- 11I. (Ohne Satzbezeichnung) - II. Adagio05:38
- 12III. Allegro04:41
- Concerto no.5
- 13I. Allegro09:26
- 14II. Affettuoso05:44
- 15III. Allegro05:10
- Concerto no.4
- 16I. Allegro06:42
- 17II. Andante03:40
- 18III. Presto04:24
Info for J. S. Bach Brandenburg Concertos
The Brandenburg Concertos need no introduction – doubtless because they owe their fame to a systematic exploration of a genre recently inherited from the Italians, with a still youthful Bach devising as many different scorings as there are concertos. When he received the manuscript of the six works, Christian Ludwig, Margrave of Brandenburg, must have been terrified by their demands, and his musicians even more so!
Three centuries later, the cycle is as open as ever to new ‘historically informed’ interpretations, as this set demonstrates. The album cover represents the importance of numbers in these works e.g. Concerto No 3 which is scored for three instruments, in 3 time, 3 sections etc.
The joyously infectious performance of these masterpieces by the Freiburg Baroque Orchestra demonstrates both the pleasure and the highest professional standard that can be reached with period instruments. Their decision to perform without a conductor is therefore quite deliberate, reviving a tradition practiced right back in the 18th century.
“For Bach´s Brandenburg Concertos we got to Cöthen Palace, and find the Freiburg Baroque Orchestra in a lovely room, standing round in a semi-circle, so that they really are making music together-– on period instruments, of course, and at what are taken to be authentic tempos: i.e. mainly extremely brisk. It nearly all happens too fast for me, but the sense of pleasure the players radiate is strong.” (BBC Music Magazine)
The Freiburger Barockorchester
can look back on a success story lasting over twenty years and is a popular guest at the foremost concert halls and opera houses. A glance at the ensemble’s concert calendar shows a diverse repertoire played at a variety of venues, ranging from the Baroque to the contemporary and from Freiburg to the Far East.
The Freiburgers’ artistic credo, however, remains unchanged: the creative curiosity of each individual member, with the aim of playing a composition in as lively and expressive a manner as possible. This also involves assigning demanding solo concertos to players from the orchestra’s own ranks. Cultivated yet at the same time exciting ensemble playing has thus become the orchestra’s international trademark.
The FBO collaborates with leading artists such as René Jacobs, Andreas Staier and Thomas Quasthoff, and enjoys a close cooperation with harmonia mundi France. The artistic success of this musical partnership has been demonstrated in numerous recordings which have won top awards such as the Jahrespreis der Deutschen Schallplattenkritik 2009, the Edison Classical Music Award 2008, the ECHO Klassik Deutscher Musikpreis 2007, and the Classical Brit Award 2007.
Under the artistic directorship of its two Konzertmeisters Gottfried von der Goltz and Petra Müllejans, and under the baton of selected conductors, the FBO presents around one hundred performances per year in a variety of formations from chamber to opera orchestra: a self-governing ensemble with its own subscription concerts at the Konzerthaus in Freiburg, the Liederhalle in Stuttgart and the Berlin Philharmonie in addition to a worldwide touring programme.