> intermediate double violin concerto

Free standard shipping on orders above $199. String - Violin Collection. Published by Dover Publications. This outstanding new edition brings together two of the most popular and most performed violin concertos of the Romantic repertoire in one convenient, moderately priced volume. Paganini's Violin Concerto No. 1 set a new standard of virtuosity and influenced the composition of violin music ever after. Wieniawski's Violin Concerto No. 2 is a concert hall favorite the world over. A piece with a moderate tempo, divided into three movements, it is certain to be enjoyed by both performers and audiences.

"Originally founded by Karl Munchinger, the Stuttgart Chamber Orchestra has been around for well over a half century, made many recordings and toured the world extensively. This is a fine collection of six of the “hit” concertos of Bach, including three which are reconstructions based on his keyboard concertos for one, two and three harpsichords. The D Minor Concerto for 2 Violins is probably the most perfect work ever written for that instrumental combination, and it boasts a longish and very heartfelt center slow movement. The label’s plan to take multichannel reproduction of classical further than the typical players in front & ambience in back is realized even more extensively on this DVD. Not only is every single piece recorded with a slightly different assignment of individual instruments to individual channels, but in one case there are even changes during a piece! The first two concertos have the single solo violin in front with the orchestra proper laid out in a U pattern behind the listener. The balance of the various instruments in the orchestra is slightly changed between the two concertos. In the C Minor Concerto the violin solo is at left front, the oboe solo at right front, the rest of the violin section at the center speaker, the harpsichord behind and the bass group at the rear - centered between the viola and second violin. The most effective spatial layout of all is in the final concerto for 3 violins - a sort of Violin Summit. The three solo violins are assigned to the L, C and R frontal channels, with the orchestra itself again in a horseshoe pattern behind the listener. This is really effective and exciting when a theme is heard first from the right violin, then taken up by the center violin and finally joined by the left hand instrument. The change during a work happens in the second movement of the Concerto in E Major for one solo violin. In the first movement the orchestra sounds rather close and the violin soloist is more distant; the second movement moves the orchestra further away and brings the listener closer aurally to the solo violin to better hear the subtleties of this intimate movement. All these works - whether in multichannel or not - would never fit onto a standard CD - they run a total of 87 minutes. Only DVD allows the greater length. " John Sunier Total playing time: 87'16

Free standard shipping on orders above $199. String - Violin Collection. 224 pages. Published by Dover Publications. Reprinted from authoritative editions, this volume of violin concertos contains Beethoven's 'Concerto in D Major, Op. 61;' 'Mendelssohn's 'Concert in E Minor, Op. 64' and Tchaikovsky's 'Concerto in D Major, Op. 35.' 256 pgs.

Free standard shipping on orders above $199. String - Violin. Published by Dover Publications. A product of Prokofiev's early maturity, the Violin Concerto No. 1 in D Major, Op. 19 was described by the composer himself as representing a "softening of temper" from the tone of his early works--despite the fact that it was completed in 1917, amid the tumult of the October Revolution. Developed from a single movement into a three-part concerto for violin and orchestra, this work begins and ends in meditative, lyrical moods with a lively scherzo in between, highlighted by virtuoso passages that make it a showcase for performers. Authoritative and affordably priced, this new edition of a longtime audience favorite will gratify violinists, conductors, and students of twentieth- century music.

Free standard shipping on orders above $199. 10 Pieces by 9 Composers G. Schirmer Instrumental Library. String Solo. With BOOK W/CD. 9x12 inches. 72 pages. Published by G. Schirmer, Inc.. Solos appropriate for advanced high school students or college music majors, this collection presents staples of the standard violin literature. Contents: Allegro moderato from the Concerto No. 1 in A minor, BWV 1041 (J.S. Bach) Presto from the Sonata No. 1 (unaccompanimed) in G minor, BWV 1001 (J.S. Bach) Canzone from the Concerto for Piano, Op. 38 (Barber) Allegro from the Sonata for Violin and Piano in F Major, Op. 24 (Spring) (Beethoven) |Allegro risoluto from the Sonatina for Violin and Piano in G Major, Op. 100 (Dvorak) Recitativo- Fantasia from the Sonate in A Major (Franck) Molto allegro from the Sonata for Violin and Piano in A Major, KV 526 (Mozart) Song from Tango Song and Dance (Previn) Canzonetta from the Violin Concerto in D Major, Op. 35 (Tchaikovsky) Theme from Schindler's List (John Williams).

Free standard shipping on orders above $199. for Violin and Piano Reduction. String Solo. 9x12 inches. 58 pages. Published by G. Schirmer, Inc.. John Corigliano's Concerto for Violin and Orchestra (The Red Violin) draws upon music he composed for the film of the same name, which won an Academy Award for best film score. The story spans three centuries in the life of a magnificent but haunted violin in its travels through space and time. Corigliano composed this 36-minute concerto in memory of his father, the former concertmaster of the New York Philharmonic.

Free standard shipping on orders above $199. Violin Collection. Published by Dover Publications. Together for the first time in a single affordable volume, these are authoritative editions of the Violin Concerto in A Minor, which broke the centuries-old mold of the concerto form, and the Romance for Violin and Orchestra, a mesmerizing reverie that builds to a finale of fiery technical feats.

Free standard shipping on orders above $199. CD Sheet Music. With CD-ROM. 9x12 inches. 8 pages. Published by Cd Sheet Music. CD Sheet Music(TM) is the revolutionary series of masterworks on CD- or DVD-ROM that transforms a PC or MAC computer into a virtual music library. Now you can quickly locate, view and print the great works of the classical repertoire. Compared to traditional printed sheet music or music downloads, it is incredibly inexpensive. Original sources are out-of-copyright standard editions from publishers such as Breitkopf and Hartel, C.F. Peters, G. Schirmer, Carl Fischer, G. Ricordi, Durand and many others. The discs also include biographical and analytical information from Grove's Dictionary of Music and Musicians, 1911 Edition. The world's largest collection of violin sonatas from beginner to virtuoso (solo parts and piano accompaniments). Composers include: Bach, Beethoven, Brahms, Busoni, Corelli, Debussy, Delius, Dvorak, Elgar, Enesco, Faure, Franck, Grieg, Handel, Haydn, Mendelssohn, M

Zygmunt Stojowski was born in Strzeice near the town of Kieice. After finishing his studies in Cracow in 1887, Stojowski moved to Paris where he studied with Louis Diemer, Leo Delibes, Theodore Dubois and Igancy Jan Paderewski. In 1891, Stojowski made his Paris debut with the Orchestre Colonne conducted by Benjamin Godard. The Violin concerto's dedication reads: 'To Mr. Ladislas Gorski - an excellent partner, with gratitude for the help and support during the creation of this piece'. The first performance of the piece took place in Paris in March 1900. The Sonata No. 2 was dedicated to Arthur Argiewicz and written on the Canadian island of Campobello during the Summer of 1911. The piece was very well received by audiences and peformed by eminent violinists of the time such as George Enesco, Pawel Kochanski,, Sasha Jacobson and Berenice Stocheck. Romance was written for Jacques Thibaud. It is a typically romantic composition with the solo violin part dominating the well-crafted orchestral writing. Agnieszka Marucha is an outstanding, young violinist who's beautiful and precise playing is complemented by the unusual choice of repertoire on this disc. For this CD she chose forgotten, yet very interesting works by Zygmunt Stojowski. Until very recently no one took interest or even remembered Stojowski's works. This attitude is however slowly changing and his pieces are being more appreciated. Zygmunt Stojowski (4.05.1870 - 4.10.1946) was a late-romantic composer and pianist. He has been forgotten in his native Poland, probably because he spent most of his adult life in the United States. This is unfortunate since many of his works are fascinating and always well crafted. These pieces are worthy of more recognition and should be performed on Polish concert stages. Until now only Stojowski's symphonic, chamber and piano works were available on CD. We have waited for a recording of the violin works long enough. This CD is really worth hearing, as it is the only recording available at the moment. The record consists of the Sonata for Violin and Piano No. 2, Romance for Violin and Orchestra and the Violin Concerto in G major op. 22. The Sonata was performed by the most distinguished violinists of the time; George Enescu, Jacques Thibaud, Sasha Jacobson and Pawel Kochanski. Agnieszka Marucha's playing suits this repertoire perfectly. She plays in an eloquent and technically secure way and always with a warm and full sound. Orchestra of the Elsner Secondary Music School in Warsaw accompanies the soloist very well. I whole-heartedly recommend this CD for all that enjoy rarely performed and re-discovered gems, as well as for those interested in Polish music. Composer: Zygmunt Stojowski (1870 - 1946) Performers: Agnieszka Marucha (violin) Jean-Jacques Schmid (piano) Orchesta of the Elsner Secondary Music School in Warsaw Piotr Wajrak (conductor) Track Listing: Sonata for violin and piano No. 2 in E major Op.37 1. I. Allegro affettuoso 2. II. Intermezzo 3. III. Arietta 4. IV. Allegro giocoso 5. Romance for violin and orchestra Op. 20 Concerto for violin and orchestra in G major Op. 22 6. I. Allegro deciso 7. II. Andante non troppo 8. III. Allegro giocoso Timing: 64.28

Free standard shipping on orders above $199. Piano Reduction. String Solo. Voicing/Format: VIOLIN. 9x12 inches. 56 pages. Published by Edward B. Marks Music Company. This concerto in three movements by one of today's greatest composers is now available for violin and piano. Includes program notes by Bolcom. Duration ca. 20 minutes.

Ludwig van Beethoven Violin Concerto d major opus 61 I Allegro ma non troppo II Larghetto III Rondo. Allegro Mila Georgieva - Violin The New Symphony Orchestra Sofia Rossen Milanov - Conductor A live-recording from the National Palace of Culture in Sofia 47 min

Free standard shipping on orders above $199. Schirmer's Library of Musical Classics, Vol. 2054 Violin and Piano. String. Voicing/Format: Violin. With Softcover. 9x12 inches. 80 pages. Published by G. Schirmer, Inc.. All five of the Seitz Pupil's Concertos are collected in one volume for the first time. The collected edition is quite a bargain, since the concertos are $5.95 each when purchased separately (a $29.75 value). A new volume in Schirmer's Library of Musical Classics.

Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 5 in A major KV 219 "The Turkish" Symphony No. 40 in G minor KV 550 Francesco Antonio Rosetti Symphony G Minor (Murray A42) The Wuerttemberg Chamber Orchestra Heilbronn and Linus Roth (violin) Conductor: Jörg Faerber Audio 60 min.

Books. Violin Concertos: Violin(s) and Piano Reduction

This is the Suzuki Violin School Revised Edition Violin Part Book Volume 4. The Suzuki Method of Talent Education was delevoped by world-renowned violinist and teacher, Dr. Suzuki. He teaches us that every child is born with ability, and that man is the son of his environment. Contents include: Lullaby (Tonalization) ( F. Schubert); Lullaby (Tonalization) (J. Brahms); Concerto No. 2 in G Major, Op. 13, 3rd Movement (F. Seitz); Concerto No. 5 in D Major, Op. 22, 1st Movement (F.Seitz); Concerto No. 5 in D Major, Op. 22, 3rd Movement (F. Seitz); Concerto in A Minor, 1st Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Concerto in A Minor, 3rd Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Perpetual Motion, "Little Suite No. 6" (K. Bohm); Concerto for Two Violins in D Minor, BWV 1043, 1st Movement, Violin II (J. S. Bach)

This is the Suzuki Violin School Revised Edition Violin Part Book & CD Volume 4. Now the violin part book and CD can be purchased together for additional savings. The Suzuki Method of Talent Education was delevoped by world-renowned violinist and teacher, Dr. Suzuki. He teaches us that every child is born with ability, and that man is the son of his environment. Contents include: Lullaby (Tonalization) ( F. Schubert); Lullaby (Tonalization) (J. Brahms); Concerto No. 2 in G Major, Op. 13, 3rd Movement (F. Seitz); Concerto No. 5 in D Major, Op. 22, 1st Movement (F.Seitz); Concerto No. 5 in D Major, Op. 22, 3rd Movement (F. Seitz); Concerto in A Minor, 1st Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Concerto in A Minor, 3rd Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Perpetual Motion, "Little Suite No. 6" (K. Bohm); Concerto for Two Violins in D Minor, BWV 1043, 1st Movement, Violin II (J. S. Bach)

From Linn Records - Another triumphant success for director Joseph Swensen and the Scottish Chamber Orchestra. Dedicated to Donald and Louise MacDonald Recorded at the Usher Hall, Edinburgh, UK, from July 7th - 9th 2003 "Under Swensen's powerful command the orchestra gives a fantastically spirited performance: a thoroughly appealing disc." -The Strad BACKGROUND: "Brahms wrote the Violin Concerto op. 77 in the summer of 1878 while holidaying in the idyllic setting of Pörtschach in the Styrian Alps, the place where, a year earlier, he had written his Second Symphony. Immediate parallels can be drawn between the two works: both are in D major, have a first movement in triple time with a triadic first subject, and are pervaded by the new-found self confidence and inner calm that manifested itself in Brahms’s writing following the completion of his long-awaited First Symphony. The first movement is conceived in an utterly symphonic manner, involving a grand-scale orchestral exposition and an elaborate working-out of the thematic material in the solo part. Yet the movement is pervaded by a sense of warmth that belies its compositional intricacies, and moments such as the waltz-like elaboration of the second subject, when it is first taken by the solo violin, exude a cheerful contentment reminiscent of the Second Symphony. Brahms declined to write a cadenza for the movement leaving this task to Joachim instead. Alternative cadenzas have since been composed by the likes of Busoni and Tovey. However, Joachim’s cadenza, which can be heard on this recording, appropriately remains the most popular. Each of the three movements of the Concerto reveals a different dimension of Brahms’s multi-faceted compositional persona, and if the first movement epitomises Brahms the symphonist, it is Brahms the song composer who emerges in the lyrical second movement. Written to replace the two middle movements he had originally sketched out for the Concerto, this ‘feeble adagio’, as Brahms described it to Joachim, contains some of the composer’s most intimate writing. The movement is built on a gentle melody, the beauty of which lies in its simplicity. The melody is stated first by solo oboe, accompanied by a rich blend of woodwind, and is then treated to a stream of seamless variations by the solo violin. The final movement of the Concerto, an exuberant Rondo alla Zingarese, draws on Brahms’s love of Hungarian gypsy music. Clearly a homage to Joachim who had written a finale in the style hongrois for his own Hungarian Concerto of 1861, Brahms managed to immerse himself far deeper in the style than his Hungarian friend. The bravura virtuosity of the solo violin part is very much in the gypsy spirit, and the movement exudes an enormous energy, impelled by restless dotted rhythmic figures and syncopations. The movement contains an extended coda in which the rondo theme is transformed into a high-spirited Hungarian-style march, providing a fitting climax to the Concerto. Although Brahms’s earliest arrangements of the Hungarian Dances date back to the 1850s, no doubt resulting from his partnership with Reményi, it was not until 1869 that the first ten dances were published by Simrock in arrangement for piano duet. The piano duet was the ideal medium for domestic consumption, and unsurprisingly, given the popularity of the style hongrois, the dances met with immediate success. Eager to build on their popularity, Simrock persuaded Brahms to arrange a number of them for orchestra, and subsequently his orchestrations of nos. 1, 3 and 10 were published in 1874. A further set of dances was issued in 1881, again in arrangement for piano duet, but Brahms did not orchestrate any more of the dances. This task was undertaken instead by some of his most dedicated supporters, most notably by Antonín Dvoøák, who orchestrated nos. 17-21, and claimed that the dances exerted a direct influence on his own Slavonic Dances. Brahms described hi...

Free standard shipping on orders above $199. Piano-Solos And Ensembles. Piano Duo. Arrangements for one piano and four hands. Grade/Level: Late Intermediate, 2 pianos, 4 hands. 64 pages. Published by Warner Brothers. This attractive concerto is written for pianists with late intermediate tec hnique. Both piano I and II are of equal difficulty. Movement one features a soaring dynamic melody set over shifting tonal centers. Movement two is h ighlighted by a haunting melody. Movement three features a flashy vivace th at allows the soloist to demonstrate his technical skills. Excellent for re citals, festivals and competitions!

Contents include: Lullaby (Tonalization) ( F. Schubert); Lullaby (Tonalization) (J. Brahms); Concerto No. 2 in G Major, Op. 13, 3rd Movement (F. Seitz); Concerto No. 5 in D Major, Op. 22, 1st Movement (F.Seitz); Concerto No. 5 in D Major, Op. 22, 3rd Movement (F. Seitz); Concerto in A Minor, 1st Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Concerto in A Minor, 3rd Movement, Op. 3, No. 6 (A. Vivaldi/T. Nachez); Perpetual Motion, "Little Suite No. 6" (K. Bohm); Concerto for Two Violins in D Minor, BWV 1043, 1st Movement, Violin II (J. S. Bach)

From Linn Records - An exceptionally beautiful rcording of Mendelssohn, with violinist Joseph Swensen. "This CD was recorded at Edinburgh's Usher Hall. The orchestra is led by its Principal Conductor Joesph Swensen, who also plays the solo part in the Violin Concerto. Rather than being solely a composer, Felix Mendelssohn should be considered a polymath – educated and skilled in music, painting and drawing, languages, the classics, as well as being an accomplished sportsman, dancer and chess player. His musical accomplishments – of which composition was always the most important in his own eyes – also include performances as a virtuoso on the piano and organ, a gifted violinist, a conductor, and an administrator and editor who has left a legacy still respected and followed in the early twenty-first century. Born in Hamburg, 3 February 1809, Felix was the second child of Abraham and Lea Mendelssohn. Abraham was a successful banker in a firm he founded with his brother in Berlin, a city he and his family (including the children Fanny (born 1805), Felix, and another daughter, Rebecka (born 1811)) returned to in July 1811. A fourth child, Paul, was born in 1812. The family were well-off, and the children well educated. Felix and his sister Fanny received their initial musical education from their mother Lea, although others were called in to help polish the two prodigies. During a visit to Paris in 1816-7 the children received piano lessons from Marie Bigot, a player who was admired by both Haydn and Beethoven. Later musical lessons came from Ludwig Berger and then, at the Berlin Singakademie, with Carl Friedrich Zelter. Zelter was himself schooled and taught using instruction from Kirnberger’s Kunst des reinen Satzes in der Musik, written to disseminate the pedagogical method of J S Bach. Zelter probably commenced teaching the young Felix composition in mid-1819, the first datable composition performed on 11 December 1819. Although not a performing prodigy in quite the same way as the young Mozart, family connections allowed much opportunity for the young Felix to meet and perform in front of leading European musicians including, at various times, Hummel, Spohr, Schelbe, Moscheles, Cherubini, Kreutzer and Rossini. When still in his mid-teens, Mendelssohn was given a copy of Bach’s St Matthew Passion, a work which (after years of preparation) he revived in a celebrated performance at the Berlin Singakademie in March 1829. By this time Felix was known as a gifted composer whose works were regularly being performed – his Midsummer Night’s Dream was premièred in early 1827 at a concert which also included the composer playing one of the solo parts in his Double Piano Concerto in Ab. The earliest of his Lieder ohne Worte was written, as a birthday present for his sister Fanny, in 1828. 1829 also saw Felix embark on what can best be described as a Grand Tour. Shortly after the performances of the St Matthew’s Passion Mendelssohn left for Hamburg, and following a difficult crossing of the English Channel he arrived in London on April 21. Initially remaining in London, often performing at private gatherings (although he did conduct his overture to Midsummer Night’s Dream on Midsummer’s Day), Felix left London in late July to visit Scotland for a walking tour. It was at an assembly of bagpipe musicians at Holyrood Palace, Edinburgh, that the inspiration for the opening of the Scottish Symphony (No. 3) came to him, and within two weeks he had the genesis of his Hebrides overture, which came to him while looking out at the Hebrides. A letter written to his family, dated August 7, 1829, includes the opening bars of the first theme in score. Although intimately connected with the work, it was not until the following day that Mendelssohn visited Fingal’s Cave on the island of Staffa. Despite being capable of writing fast when it was required of him, Mendelssohn was at heart a constant reviser of his own works. T...

"Concerto music holds a special and important place in the output of Romuald Twardowski. The Little Symphony, thre piano concertos, Cello Concerto, Capriccio in blue, Spanish Fantasia, and Niggunim are all examples of works that attest to the composer's excellent knowledge of the solo instrument, its technical and expressive capabilities. While playing the violin, piano or organ Twardowski is able to get into the spirit of the instrument and as a result use its capabilities so that it will give through a rich and attractive texture full satisfaction to the performer and, obviously, to the listener as well. Two generations of musicians contributed to the making of this disc: the youthful fervour and ethusiasm compete here with the mastery of professional musicians. They all, however, have in common high quality, professionalism, and care for a faithful rendering of the composer's intentions." Composer: Romuald Twardowski (1930) Performers: Andrezj Gebski* (violin, conductor) The Zenon Brzewski Warsaw String Orchestra* Romuald Golebiowski** (clarinet) The Elsner Youth Symphony Orchestra**, Piotr Wajrak** (conductor) Johanna Lawrynowicz*** (piano) The Podlasie Opera and Philharmonic Orchestra in Bialystok***, Wojciech Rajski*** (conductor) The Aarhus Symphony Orchestra****, Karol Stryja**** (conductor) Track Listing: Concerto for violin* 1. I. Grave.. Andante 2. II. Allegro deciso Hebraic Melodies** 3. I. Cadenza I. Maestoso 4. II. Marcato 5. III. Andante 6. IV. Allegretto Piano concerto no. 1*** 7. I. Maestoso. Allegro marcato 8. II. Andante 9. III. Allegro marcato 10. IV. Andante 11. V. Allegro marcato 12. VI. Maestoso. Vivace 3 Fragments from the ballet Naked Prince**** 13. I. Jester dance (Taniec Blazna) 14. II. The Tailors II (Krawcy II) 15. III. March (Marsz) Timing:57'30

Performing artist Conrad Steinmann has devoted a great deal of time and energy to a question that may seem quite banal: "What kind of flute was Vivaldi's "flauto" in reality?" And in his search for answers, he came across Bartolo-meo Bismantova. This scholar's manuscript treatise "Compendio Musicale" of 1677 contains detailed instructions for the performance of various instruments. Following a general introduction to music theory comes a remarkably extensive treatment of the recorder. It describes the "flauto italiano" as an instrument in three sections bored and turned in the Baroque fashion, and with the ground note g' (he also mentions a different-sized instrument with the ground note d'). Thanks to this knowledge and the ensemble's extraordinarily spirited music-making, Vivaldi's works can now be heard with a new freshness. No fewer than six differently bored and tuned instruments were used, and they cast a surprising new light on Vivaldi's world of sounds. This discovery of "new" tone colors and the logic of unexpected new fingering techniques lend a unique brilliance to this recording and provide a compelling and infectiously invigorating listening experience. Instruments: recorder in d' made by Frederick G. Morgan (Track no. 1-3) | recorder in e flat' made by Frederick G. Morgan (Track no. 15-20) | recorder in g' made by Ernst Meyer (Track 4-5, 12-14) | recorder in c'' made by Ernst Meyer (Track 8,10) | recorder in c'' made by Frederick G. Morgan (Track 9) | First Violin: Nicola Amati, Cremona 1684 | Second Violin: Sebastian Klotz, 1750 | Viola: Andrew Fairfax, 1979 | Violoncello: Norman Barak, London 1710 | Double bass: Anonymous, France 18th century | Lute: Richard Earle, Basle 1986 | Harpsichord: Gianfranco Facchini, Lugo di Romagna 2001 Tracklisting 1. Concerto in la minore RV 108: I. Allegro 3:26 2. Concerto in la minore RV 108: II. Largo 2:22 3. Concerto in la minore RV 108: III. Allegro 2:36 4. Concerto op. X No VI, RV 437: I. Allegro 3:43 5. Concerto op. X No VI, RV 437: II. Largo 1:52 6. Concerto op. X No VI, RV 437: III. Allegro 1:58 7. Concerto in sol minore per archi 2:25 8. Concerto per flautino RV 443: I. Allegro 3:49 9. Concerto per flautino RV 443: II. Largo 3:48 10. Concerto per flautino RV 443: III. Allegro molto 2:57 11. Concerto per solo archi: II. Largo 2:17 12. Concerto «Il Cardellino» op. X No. III RV 428: I. Allegro 3:34 13. Concerto «Il Cardellino» op. X No. III RV 428: II. Cantabile 2:44 14. Concerto «Il Cardellino» op. X No. III RV 428: III. Allegro 2:52 15. Concerto «La Notte» op. X No. II RV 439: I. Largo 1:31 16. Concerto «La Notte» op. X No. II RV 439: II. Fantasmi. Presto 0:47 17. Concerto «La Notte» op. X No. II RV 439: III. Largo 0:53 18. Concerto «La Notte» op. X No. II RV 439: IV. Presto 0:57 19. Concerto «La Notte» op. X No. II RV 439: V. Largo «il sonno» 1:29

"I have been a Brandenburg junkie for ~50years . From my first Westminster LP set with Karl Haas conducting The London Baroque Ensemble, to my favorite Decca recording with the English Chamber Orchestra led by Benjamin Britten, my Brandeburg recordings have been played en chambre, al fresco, and en passant, in auto or on foot. They are an integral part of my essential whistling repetoire- as in the third concerto where I dare to go where no whistler ought - with that trumpet solo. This Tacet set achieves yet another level of excellence! Utilizing SACD five channel technology, the listener is presented differing instrumental placements for the various concertos. The first Brandenburg with horns, winds, abd strings finds the orchestra in "standard" position with the rear channels adding ambiance. The second concerto places the listener inside the orchestra. The trumpet is R. rear, the oboe L. rear, the flute R. front, the violin L. front, while the remaining orchestra is arrayed around the listener. The effect is quite thrilling. The voices and counterpoint are so clear. It is as if you are inside of Bach's brain. And what a brain this is! The insight this technique provides into the interlocking melodies and harmonies is one of the most exciting musical experiences that I have encountered.The third concerto finds the violas front, the cellos and violins R and L respectively. Again, the most remarkable clarity is provided; indeed,clarity is the essence of these recordings .In particular the second third and fourth concertos are most effective. I know my Brandenburgs and am astonished by the information available only from these discs. The Stuttgart Chamber Orchestra recorded a fine set of Brandenburgs for Decca/London in the 1960s under the direction of Karl Munchinger. It was highly esteemed and remains available at record boutiques.This 2000 Stuttgart recording, without designated conductor, is more idiomatic, more gracefully performed, more spirited and more virtuosic with respect to the soloists' contributions. Combine these gorgeous performances with the opportunity of literally being inside the 6 Brandenburgs in surround sound and you have a most remarkable listening experience. Excitingly recommended! [We reviewed the DVD-Audio version of this not long ago in these same pages. Sonics are similar; the main difference is that in that case all the concertos fit on a single DVD...Ed.]" Ronald Legum Total playing time: 94'35