- Allegro 4:13
- Larghetto 5:05
- Allegro ma non tanto 4:09
- Allegro 7:35
- Siciliano 5:34
- Allegro assai 6:07
- Allegro 9:56
- Affettuoso 5:49
- Allegro 5:35
Concerto for Piano and Orchestra No. 4
in A major, BWV 1055
Concerto for Piano and Orchestra No. 2
in E major, BWV 1053
Brandenburg Concerto No. 5 in D major, BWV 1050
João Carlos Martins / Bach
Concertos for Piano and Orchestra 2&4
Labor Records is proud to announce the digital release of Concertos for Piano and Orchestra, the eleventh installment of The Complete Keyboard Works of J.S. Bach, a collection comprising 15 volumes/19 CDs. This monumental edition features the celebrated Brazilian pianist João Carlos Martins, a legend among Bachophiles.
This new João Carlos Martins CD, the second volume of Bach concertos, features the Fifth Concerto for violin, flute and harpsichord (including the famous cadenza, a rare written-out improvisation by a composer who was known to his contemporaries as a master improviser) as well as the only two original concertos known to have been written by Bach himself to play. The Concertos in A major (BWV 1055) and E major (BWV 1053) were written and performed for a pioneering public concert series in a coffeee house of which Bach was the music director!
Martins’s intelligence, virtuoso skill and intensity are strikingly on display in these performances with one of the leading chamber orchestras of Eastern Europe, the Sofia Soloists under the direction of Plamen Djurov.
Martins’s approach of the Sicialiano from the Second Concert is daring, even for him: he begins quietly, and he slowly increases the dynamic level throughout the course of the five minute movement until it comes to an imposing close: Bach à la “The Great Gate of
The rest of this disc typifies Martins’s current approach to Bach’s music. His touch ranges from feathery to pounding, and highly articulated playing is the order of the day, even in the slow movements. If “detachment” describes an aspect of his technique, it certainly doesn’t apply to his emotional and intellectual connection with this music: this is some of the most involving Bach in modern times. – Raymond Tuttle / Fanfare
The freshness of these performances derive from the way they contrast with the mechanical, metronomic, desiccated interpretive style most performers of our era–both on period instruments and modern ones–insist on bringing to these pieces. In contrast, Martins actually interprets the music, yet plays it in such a fluid, spontaneous, unaffected manner as to make the piano seem the natural choice for the solo instrument–almost as if to say, “well, of course Bach would have done it this way” if he’d had this kind of instrument.
– American Record Guide
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