Harpsichord Concertos Vol. 2 by Fabio Bonizzoni

Johann Sebastian Bach

Fabio Bonizzoni | La Risonanza

Harpsichord Concertos Vol. 2

Price: € 20.95
Format: SACD
Label: Challenge Classics
UPC: 0608917280029
Catnr: CC 72800
Release date: 05 April 2019
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Label
Challenge Classics

UPC
0608917280029

Catalogue number
CC 72800

Release date
05 April 2019

"Bonizzoni, musician with excellent technique and musicianship, has inherited from his teacher and mentor, Ton Koopman, a lively, fresh, clean and - naturally - very Italian way of playing. Such qualities, enhanced by a sound recording of great transparency, shine along the entire programme. Excellent accompaniment one-to-a-part, ideal line-up that allows a perfect blend between the soloist and the ensemble."

Scherzo, 01-11-2019

Album

Artist(s)

Composer(s)

Press

About the album

Here is the follow-up to the critically acclaimed first volume of Bach’s Harpsichord Concertos by Fabio Bonizzoni and his group La Risonanza.

This second volume includes a more varied range of works as it starts with the most famous Brandenburg Fifth, which is the first ever harpsichord concert. After the BWV 1054, we have the rather rare BWV 1057,which is the harpsichord version of the Brandenburg Fourth. To end Bonizzoni’s survey of all Bach’s harpsichord concertos, we find the famous and beloved Triple concerto, with violin and flute.

Some critics’ quotation on first volume.
For a single CD of these four keyboard concertos, there’s no preferable recording available. - Musicweb
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
Bonizzoni achieves the difficult task of combining subtle artifice and interpretative joie de vivre with a manner that appears natural and uncomplicated […] enticing for its musical strengths. – Gramophone

Fabio Bonizzoni, een van de meest ervaren klavecinisten van deze tijd, en zijn ensemble La Risonanza brachten twee delen uit met alle klavecimbelconcerten van Johann Sebastian Bach. Na het succesvolle eerste deel, dat lovende recensies kreeg, is een gevarieerd laatste deel verschenen met de concerten BWV 1050, BWV 1057, BWV 1054 en BWV 1044. Opnieuw prachtig uitgevoerd door Bonizzoni en zijn gezelschap.

Onderhoud van de prinselijke klavecimbels

De opgetekende geschiedenis van de concerto's van Bach voor solo klavecimbel begint nogal terloops met enkele vermeldingen in de boekhoudverslagen van het prinselijk hof in Anhalt-Köthen, waar Bach de vorstelijke kapel van Prins Leopold leidde. Bach zorgde voor het onderhoud van de prinselijke klavecimbels, vooral nodig omdat hij in 1719 een nieuwe klavecimbel kocht bij de beroemde bouwer Michael Mietke in Berlijn. Het instrument, opgesteld in de feestelijke hal, werd het nieuwste pronkstuk van de residentie in Köthen en noopte Bach tot het schrijven van een spectaculair stuk om de bijzondere klank van de nieuwe klavecimbel tot uiting te laten komen. Dat werd zijn beroemde Vijfde Brandenburgse Concert, in de muziekgeschiedenis het eerste klavecimbelconcert ooit, waarin een prominente solopartij met een uitgebreide virtuoze klavecimbel cadens de solist de gelegenheid biedt om zijn technisch kunnen te tonen.

Breed spectrum

En juist met dit beroemdste klavecimbelconcert BWV 1050 van Bach uit 1719 opent Fabio Bonizzoni dit album dat een breed spectrum aan werken biedt. Na het Vijfde Brandenburgse Concert volgt het tamelijk zeldzame BWV 1057, de klavecimbelversie van het Vierde Brandenburgse Concert, waarin het barokmodel doorklinkt. De fugatische finale kent een van de meest geduchte passages voor solo viool uit het gehele barokreportoire. Het op klavecimbel in F majeur in plaats van G majeur spelen maakt het er niet makkelijker op, integendeel.
Toen Bach in 1729 in Café Zimmermann in Leipzig zijn tweede carrière als dirigent van het wekelijkse Collegium musicum begon, realiseerde hij zich al snel dat zijn klavecimbelstudenten, én zijn zonen, in concerten als solisten moesten kunnen optreden. Bach veranderde zijn eerdere 'Köthen concerten' in concerten voor klavecimbel. Bij het vioolconcert in E majeur bleek dat eenvoudig, hij zette het een hele toon lager, scherpte de ritmes aan in de kortere percussie-achtige klank van de klavecimbel en nam de vrijheid het toetsenbord waar mogelijk 'alleen zijn gang te laten gaan': et voilà het klavecimbelconcert BWV 1054 was geboren. Bonizzoni's verzameling van de klavecimbelconcerten van Bach eindigt met het beroemde en geliefde Triple Concerto met viool en fluit.

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.

Diese Aufnahme ist der Nachfolger des gefeierten ersten Teils von Bachs Cembalokonzerten von Fabio Bonizzoni und seinem Ensemble La Risonanza.

Die zweite CD beinhaltet ein breiteres Werkspektrum und beginnt mit dem berühmtesten, dem Fünften Brandenburger Konzert, dem ersten Cembalokonzert überhaupt. Auf BWV 1054 folgt das recht seltene BWV 1057, die Cembalofassung des Vierten Brandenburgischen Konzertes. Am Ende von Bonizzonis Studie aller Bachscher Cembalokonzerte finden wir das berühmte wie beliebte Tripelkonzert mit Violine und Flöte.

Kritiken des ersten Teils:
„Als Einzel-CD dieser vier Konzerte gibt es keine bessere Aufnahme als diese.“ – Musicweb
„Cembalist Fabio Bonizzoni integriert diese Konzerte glaubhaft, sodass sie nicht als Solist gegen Ensemble erscheinen, sondern vielmehr als vollständige Einheit.“ – Fanfare
„Bonizzoni gelingt die schwierige Aufgabe, subtiles Geschick und interpretative Lebensfreude mit einer Manier zu kombinieren, die natürlich und unkompliziert scheint [...] verlockend durch seine musikalischen Stärken.“ - Gramophone

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...

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 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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Marco Brolli (traverso)

Kayako Matsunaga (violin)

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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Ulrike Slowik (violin)

Caterina Dell’Agnello (violoncello)

Italian classical cellist.

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Isabel Lehmann (recorder)

Margret Eva Görner (recorder)

Gianni De Rosa (viola)

Marco Lo Cicero (violone)

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.

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

Bonizzoni, musician with excellent technique and musicianship, has inherited from his teacher and mentor, Ton Koopman, a lively, fresh, clean and - naturally - very Italian way of playing. Such qualities, enhanced by a sound recording of great transparency, shine along the entire programme. Excellent accompaniment one-to-a-part, ideal line-up that allows a perfect blend between the soloist and the ensemble.
Scherzo, 01-11-2019

A nice broad recording, in which the homogeneity of this small ensemble comes fully into its own.
Mania, 03-5-2019

Taking into account the difficulties of recording under the aural constraints such a venue poses, the result is remarkably good, though favouring the lower end of the sound spectrum.
HRAudio, 15-4-2019

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