The world of Bach's concerti for various instruments is a complicated one. What survives is 2 concerti for solo violin (BWV 1041-1042), a concerto for two violins (BWV 1043), a triple concerto for flute, violin and harpsichord (BWV 1044), 6 other concerti for groups of solo instruments (The Brandenburg Concerti, BWV 1046-1051), and 14 concerti for one or more harpsichords (BWV 1052-1065). The difficulty begins with the fact that the harpsichord concerti were probably all originally written for other instruments, and transcribed by Bach for the harpsichord. Most of the originals are now lost, and only the harpsichord transcriptions survive. To confuse the issue, there have been many attempts to reconstruct the original concerti by musicians after Bach's death. So we now have “Bach's flute concerti” and “Bach's oboe concerti” (modern versions of the harpsichord concerti BWV 1053, 1055, 1056 and 1059) and even versions for the guitar. Violin Concerto played by Arthur Grumieux A minor, BWV 1041 Most of these concerti date from Bach's so-called Cöthen period from 1718-1723, a happy, productive time for Bach. His new employer, Prince Leopold of Anhalt-Cöthen seemed to be fond of the latest fad, the Italian-style Concerto, as typified by Vivaldi. The older German version had four movements, but Bach quickly adopted the Italian three-movement fast-slow-fast structure, the form that propelled it into the Classical period. In Mozart's time, and from then on, the concerto became a showcase for the virtuoso soloist, the orchestra often in just a supporting role. Bach's concerti are very different. His is more a intricate dialog between orchestra and soloist, the solo instrument is very much a primus inter pares, first among equals, often not taking the limelight but adding to the overall texture of the music. Concerto for Violin and Orchestra No.1 in A minor, BWV 1041 A spontaneous, infectious first movement, hurtling inevitably forwards, contrasting sharply with the pastoral slow movement, the violin truly singing. And ending with a rolling, jolly final gigue, famous for Bach's instruction to the soloist for bariolage, a bowing technique where a single note is played repeatedly alternating on stopped and open strings, producing a unique effect.

This is a some explanatory information I gathered for my friend Leigh Perry. Leigh mentioned that he loved classical piano music.
This is not piano music only. I have included some of my overall classical favourites. I recorded the music described on this photo and text information site on a MP3 CD for Leigh.
Anyone else interested in such a CD should let me know. The work is done now, and it is easy to burn another MP3 CD. I might consider it.

Photos 1-4. Antonio Vivaldi (1678-1741) - The Four Seasons.
Photos 5-8. Johann Sebastian Bach ( 1685-1750) - The Violin Concertos
Photos 9-10. Amadeus Mozart (1756-1791) Piano Concertos 23 and 27 (KV 488 & KV 599)
Photo 11. Ludwig van Beethoven ( 1770-1827) Moonlight Sonata
Photo 12-13. Robert Schumann ( 1810-1856) Piano Concerto
Photo 14-16. Frederic Chopin ( 1810-1849) Piano Concertos no 1 & 2
Photo 17-18. Ludwig van Beethoven ( 1770-1827) Violin Concerto in Dmin
Photo 19. Dmitri Shostakovich ( 1906-1975) Piano concerto No 2
Photo 20. Royal concertgebouw Orchestra plays Tea for Two

Gallery pages: 1 2 3 >

< 6 of 20 >

BOB > Antonio Vivaldi
born Venice, 4 March 1678; died Vienna, 28 July 1741).

He was the son of a professional violinist who played at St. Mark's and may have been involved in operatic management. Vivaldi was trained for the priesthood and ordained in 1703 but soon after his ordination ceased to say Mass. he claimed this was because of his unsure health (he is known to have suffered from chest complaints, possibly asthma or angina). In 1703 he was appointed maestro di violino at the Ospedale della Pietà, one of the Venetian girls' orphanages; he remained there until 1709, and held the post again, 1711-16; he then became maestro de' concerti. Later, when he was away from Venice, he retained his connection with the Pietà (at one period he sent two concertos by post each month). He became maestro di cappella, 1735-8; even after then he supplied concertos and directed performances on special occasions.

Vivaldi's reputation had begun to grow with his first publications: trio sonatas (probably 1703-5), violin sonatas (1709) and especially his 12 concertos L'estro armonico op.3 (1711). These, containing some of his finest concertos, were issued in Amsterdam and widely circulated in northern Europe; this prompted visiting musicians to seek him out in Venice and in some cases commission works from him (notably for the Dresden court). Bach transcribed five op.3 concertos for keyboard, and many German composers imitated his style. He published two further sets of sonatas and seven more of concertos, including La stravaganza op.4 (circa 1712), Il cimento dell'armonia e dell'inventione (circa 1725, including 'The Four Seasons') and La cetra (1727). It is in the concerto that Vivaldi's chief importance lies. He was the first composer to use ritornello form regularly in fast movements, and his use of it became a model; the same is true of his three-movement plan (fast-slow-fast). His methods of securing greater thematic unity were widely copied, especially the integration of solo and ritornello material; his vigorous rhythmic pattems, his violinistic figuration and his use of sequence were also much imitated. Of his circa 550 concertos, circa 350 are for solo instrument (more than 230 for violin); there are circa 40 double concertos, more than 30 for multiple soloists and nearly 60 for orchestra without solo, while more than 20 are chamber concertos for a small group of solo instruments without orchestra (the 'tutti' element is provided by the instmments all playing together). Vivaldi was an enterprising orchestrator, writing several concertos for unusual combinations like viola d'amore and lute, or for ensembles including chalumeaux, clarinets, horns and other rarities. There are also many solo concertos for bassoon, cello, oboe and flute. Some of his concertos are programmatic, for example 'La tempesta di mare' (the title of three concertos). Into this category also fall 'The Four Seasons', with their representation of seasonal activities and conditions accommodated within a standard ritornello form - these are described in the appended sonnets, which he may have written himself.

Vivaldi was also much engaged in vocal music. He wrote a quantity of sacred works, chiefly for the Pietà girls, using a vigorous style in which the influence of the concerto is often marked. He was also involved in opera and spent much time travelling to promote his works. His earliest known opera was given in Vicenza in 1713; later he worked at theatres in Venice, Mantua (1718-20), Rome (probably 1723-5), possibly Vienna and Prague (around 1730), Ferrara (1737), Amsterdam (1738) and possibly Vienna during his last visit. He was by most accounts a difficult man; in 1738 he was forbidden entry to Ferrara ostensibly because of his refusal to say Mass and his relationship with the singer Anna Giraud, a pupil of his with whom he travelled. More than 20 of his operas survive; those that have been revived include music of vitality and imagination as well as more routine items. But Vivaldi's importance lies above all in his concertos, for their boldness and originality and for their central place in the history of concerto form.

BOB > Jaap van Zweden Conductor

Chief Conductor and Artistic Director, Radio Filharmonisch Orkest Holland
Jaap van Zweden was born in 1960 in Amsterdam and studied at the Julliard School in New York. At the age of 19 Jaap van Zweden became the youngest concert master of the Royal Concertgebouw Orchestra. Since commencing his conducting career in 1995, Jaap van Zweden has had enormous success conducting many of the major orchestras in Holland as well as in France, UK, Germany and Asia. In 1995 he was appointed as the Principal Conductor of the Residentie Orchestra in The Hague with whom he has undertaken major tours through Europe and Japan. He is now anhonorary Guest Conductor with this orchestra until 2009. In 1996 he was appointed as Principal Conductor of the Netherlands Symphony Orchestra, a position he held until 2000.
Jaap van Zweden has worked with the Academy of St-Martin-in-the-Fields, Gothenberg Symphony, WDR Cologne Symphony Orchestra, as well as the Melbourne and Sydney Symphony Orchestras in Australia. Last season, engagements included invitations from the Munich Philharmonic, Tokyo Philharmonic, Royal Concertgebouw Orchestra, Bern Symphony, Rotterdam Philharmonic and Malaysian Philharmonic Orchestras. In the 2005/06 season, his debuts include the Hong Kong Philharmonic and in the USA with the Dallas Symphony Orchestra and return invitations to the City of Birmingham Symphony Orchestra, St Petersburg Philharmonic, Orchestre National du Capitole de Toulouse and Danish Radio Symphony Orchestra. In September 2005, Jaap van Zweden commenced his position as Chief Conductor and Artistic Director of Radio Filharmonisch Orkest.
Season 2005/2006

BOB > Combattimento Consort Amsterdam (Instrumental Ensemble)

Born: 1982 - Amsterdam, Holland

Founded in 1982 by violinist Jan Willem de Vriend, the Combattimento Consort Amsterdam (= CCA) has developed into a close-knit ensemble specialising in music between 1600 and 1800. In view of the repertoire, concerts comprising small and medium-sized groups of instruments are given, but each year, the ensemble also programs oratorios and operas. The wish not to focus solely on the standard repertoire has resulted in many interesting programmes featuring remarkable and little-known works, some of which are only available in manuscript. The performance of these compositions in conjunction with more familiar works has proved to be refreshing and inspiring to listeners and performers alike.

The CCA generally performs on instruments built in the 19th century. This offers great advantages. For example, the ensemble often performs in large concert halls in relatively small instrumental groups. If the ensemble were to choose to work exclusively with original instruments, this would impose a variety of location and time limitations on the programming. After all, not only did tuning differ greatly in the various European cities, but also the instruments on hand and even the way these instruments were played. After considering all of these advantages and disadvantages as a whole, the Combattimento Consort has chosen to continue using 19th-century instruments - but under certain conditions.

Over the years the CCA has given many memorable concerts and operatic performances including Händel's Rodelinda – a co-production with Studio's Onafhankelijk Toneel - Alcina, also by Händel, and Monteverdi's L'Orfeo, in collaboration with De Nationale Reisopera. In September 2002 the ensemble has made its debut at the Early Music Holland Festival in Utrecht, giving two performances of Rameau's opera Platée in a co-production with Onafhankelijk Toneel and the Nationale Reisopera.

Apart from numerous concerts in the Netherlands the CCA also appeared in various European countries as well as Japan, the USA and South America. In the Netherlands, the ensemble often gives performances in the larger concert halls but also in more intimate spaces and for private gatherings. In 2002 season the group performed in Germany, England and Italy. These successful tours have always been attracting attention in national and international media.

In addition to solo performances by members of the ensemble, the CCA has also worked with great performers such as Barbara Bonney, Andreas Scholl and Anthony Rolfe Johnson, Hieke Meppelink, Thomas Zehetmair, Ronald Brautigam and Sabine Meyer, as well as joining forces with Collegium Vocale Gent and other groups. In addition to renowned soloists, the CCA place great importance on working with young, talented singers.

The CCA has made numerous CD recordings, the last two of which appeared on the early music label Bona Nova. Several recordings have won the highest praise of the Dutch music magazine Luister. Their CD recordings include the operas La Resurrezione by Händel and Der Stein der Weisen. The last one had its premiere in the Wielki Theatre in Lodz (Poland; 2003), and after that it toured in The Netherlands and Flanders. In 2004 the CCA toured through Central Europe and The Netherlands with Händel’s opera Agrippina, the largest cultural project within the Netherlands Presidency of the European Union. In addition the CCA can be heard regularly as part of radio and television broadcasts.

The Combattimento Consort Amsterdam is sponsored by Bouwfonds. It has its own foundation of friends, which enables the ensemble to continue funding special productions.

But above all, the Combattimento Consort Amsterdam is a closely-knit group of musicians (consort), who dare to take on the battle (combattimento) of voice against voice. A Baroque ensemble that takes advantage of oppositions, thereby collectively creating something beautiful, in which contrasts lead to an intensely pleasurable experience. An ensemble that bridges the gap between players and audience with its fresh musical individuality

BOB > Combattimento Consort Amsterdam in 1990

BOB > J.S. Bach was born in Eisenach, Germany, in 1685 and died in 1750 (he was 65 when he died). He came from a long family history of professional muscicians including church organists and composers. Like his father, Johann Ambrosius Bach, J.S. (Johann Sebastian) would learn and surpass him in this art of classical music composing.

Bach's childhood wasn't that great as his father passed away when he was 9 and his mother also died when he was a young boy. Although he spent much time with his musically inclined uncles, he also spent time studying and learning from his older brother, Johann Christoph Bach.

Growing up, Bach learned much about organ building. Back in those days, the church organ was a highly complex instrument with many mechanical and moving parts/pedals and pipes. His early experience with repairing and talking with organ builders & performers would prove valuable as he mastered the musical craft.

BOB > The world of Bach's concerti for various instruments is a complicated one. What survives is 2 concerti for solo violin (BWV 1041-1042), a concerto for two violins (BWV 1043), a triple concerto for flute, violin and harpsichord (BWV 1044), 6 other concerti for groups of solo instruments (The Brandenburg Concerti, BWV 1046-1051), and 14 concerti for one or more harpsichords (BWV 1052-1065).

The difficulty begins with the fact that the harpsichord concerti were probably all originally written for other instruments, and transcribed by Bach for the harpsichord. Most of the originals are now lost, and only the harpsichord transcriptions survive.

To confuse the issue, there have been many attempts to reconstruct the original concerti by musicians after Bach's death. So we now have “Bach's flute concerti” and “Bach's oboe concerti” (modern versions of the harpsichord concerti BWV 1053, 1055, 1056 and 1059) and even versions for the guitar.

Violin Concerto played by Arthur Grumieux
A minor, BWV 1041
Most of these concerti date from Bach's so-called Cöthen period from 1718-1723, a happy, productive time for Bach. His new employer, Prince Leopold of Anhalt-Cöthen seemed to be fond of the latest fad, the Italian-style Concerto, as typified by Vivaldi. The older German version had four movements, but Bach quickly adopted the Italian three-movement fast-slow-fast structure, the form that propelled it into the Classical period.

In Mozart's time, and from then on, the concerto became a showcase for the virtuoso soloist, the orchestra often in just a supporting role. Bach's concerti are very different. His is more a intricate dialog between orchestra and soloist, the solo instrument is very much a primus inter pares, first among equals, often not taking the limelight but adding to the overall texture of the music.

Concerto for Violin and Orchestra No.1 in A minor, BWV 1041
A spontaneous, infectious first movement, hurtling inevitably forwards, contrasting sharply with the pastoral slow movement, the violin truly singing. And ending with a rolling, jolly final gigue, famous for Bach's instruction to the soloist for bariolage, a bowing technique where a single note is played repeatedly alternating on stopped and open strings, producing a unique effect.

BOB > Academy of St Martin-in-the-Fields (Chamber Orchestra)

Founded: 1959 – London, England

The Academy of St Martin in the Fields (= ASMF) was founded in 1959 by Sir Neville Marriner and a group of London's leading orchestral players. Originally formed as a small conductorless string group, it spearheaded the 1960’s Baroque revival, and recorded and performed a rapidly expanding range of repertoire with Sir Neville Marriner and long-time partner, Iona Brown. The orchestra now divides its time between international tours, education and outreach work, the recording studio and UK concerts.

The ASMF has three principal partners: Life President Sir Neville Marriner, Artistic Director Kenneth Sillito and Principal Guest Conductor Murray Perahia. It is also enjoying a burgeoning relationship with the young American violinist Pamela Frank. Kenneth Sillito also directs the Academy of St. Martin the Fields Chamber Ensemble.

The ASMF regularly tours the USA, Europe, the Far East and South America. In June 1997 the Academy was invited to Hong Kong to play for the official handover celebrations which included two performances of Beethoven's Symphony no. 9 with Sir Neville Marriner. In April 1993, the Academy of St. Martin in the Fields became the first orchestra to be honoured with the Queen's Award for Export Achievement.

World Premieres of works by Sally Beamish (Cello Concerto, performed to great critical acclaim by Robert Cohen) and Alec Roth (Departure of the Queen of Sheba) have enhanced the wide-ranging repertoire performed by the Academy in all its formations: from string sextet to classical-sized orchestra.

After an absence of many years, the orchestra returned in 1997 to its 'spiritual home', the church of St. Martin-in-the-Fields in Trafalgar Square. It also continues to appear on the South Bank (both Royal Festival Hall and Queen Elizabeth Hall) and in many halls across the country: from Birmingham and Glasgow to Truro, Baldock and King's Lynn.

With over 500 recordings to its credit, ranging from baroque and classical to the romantic and 20th century, the Academy remains the most recorded chamber orchestra in the world. New recordings released recently include A Rossini Gala a second volume of Grainger’s Chamber Musicand Sibelius’ Tempest and Violin Concerto.

The ASMF has received many prestigious international awards, including eight Edisons, the Canadian Grand Prix and a multitude of gold discs – thirteen alone for the soundtrack of Milos Forman's film 'Amadeus'. Another more recent soundtrack, 'The English Patient', won an Oscar for Best Sound.

The ASMF has an increasingly ambitious education and outreach programme called 'Outward Sound'. Players take part in a wide range of projects with schools and community groups throughout the UK. These are tailored to suit each individual group's needs.

The ASMF is very proud of its Chorus. Formed in 1975, it has established a reputation as one of the most versatile choirs in the UK and performs with the orchestra both at home and abroad. The Chorus is conducted by Joseph Cullen.

Unlike many major British orchestras, the Academy receives no direct government subsidy and relies solely on its artistic integrity and commercial initiative for its continued success. It has, however, benefited in recent years from various Lottery and Foundation funds, supporting its capital, educational and developmental work.

BOB > Amadeus Mozart

Mozart Piano Concerto # 23

If one wished to learn everything there is to know about Mozart, but could only study a single type of composition, the best choice would be the piano concerto. In this one area, Mozart produced twenty-seven pieces, more piano concerti than any other important composer. Additionally, the concerti span his entire career. The first was written when he was only eleven; the last appeared less than a year before his death. Considering the entire range of these works shows how Mozart's style developed, and it shows how the Classical style as a whole came into being, for his earliest piano concerti are close adaptations of Baroque sonatas, whereas his final few works in the genre hint at the passion and power that would become popular at the turn of the century. As Mozart and his concerti matured, so did music history reach a new stage of development.

Mozart's fascination with the piano concerto parallels Europe's interest in the piano itself. In the composer's early years, pianos were still regarded as new inventions. Harpsichords, which had been the stars of the Baroque era, were as yet highly regarded. Gradually, though, the greater power and versatility of the piano gave it precedence over its predecessor. Demand soared for compositions suited to this new instrument, and a fine pianist (Mozart was acclaimed as one of the best ever) could earn a good living playing such concerti for appreciative audiences, especially if one could do so in Vienna, where appetites for new piano concerti seemed insatiable. For this reason, among others, Mozart abandoned his native Salzburg. He settled in the imperial capital in the summer of 1781. In the decade that remained of his life, he would produce seventeen piano concerti, many of which now number among the masterpieces of the repertoire.

According to the date that the composer himself noted on the score, the Twenty-third Piano Concerto was completed March 2, 1786, only three weeks before the Concerto no. 24. Mozart typically produced several piano concerti at the end of each winter. The previous year, he had written another pair of concerti in February and March; in 1784, he wrote four such works in a similar time span. At first glance, the timing of such productivity might seem to be due to a burst of spring fever. However, the actual explanation has less to do with weather than with religion. These numerous concerti were all written during or just before Lent, the six weeks of reflection that precede Easter each year. In Vienna, at the time a very Catholic city, the dramatic theatres usually closed during Lent, depriving the Viennese of a favored source of entertainment. Lacking competition from theatres, concert attendance soared, and musicians capitalized on the demand by presenting even more concerts. Mozart's own letters, as well as contemporary accounts, attest that during Lent he frequently gave three or four concerts each week. As a pianist, he would want some new music to perform on these concerts, hence the series of concerti.

Although the Twenty-third Concerto is famed for its graceful melodies and elegant structure, it was not published during Mozart's lifetime. This fact might lead one to imagine that Viennese publishers were seriously short-sighted, which in some instances they certainly were, but in this case, they seem to be blameless, for apparently Mozart himself withheld the piece from publication. In a letter to his father, he cites it as being amongst "the compositions that I keep for myself or for a small circle of music-lovers and connoisseurs, who promise not to let them out of their hands." This special concerto was not a piece that he was willing to trade for mere money. Even when his finances were at their worst, he would not sell this score, but rather retained it as a personal treasure. It was music that had, for him, a deeper meaning, yet behind his decision might have lurked a measure of the showman's judgement. Four decades later, Paganini would also withhold works from publication, lest other violinists start performing his own trademark compositions. Like his later colleague, Mozart might have thought to keep this wonderful work from the hands of his competitors. If you wanted to hear this concerto, you had to attend a concert by its creator.

BOB > Alfred Brendel.

Alfred Brendel is recognized by audiences the world over for his legendary ability to communicate the emotional and intellectual depths of whatever music he performs. A supreme master of his art, his accomplishments as an interpreter of the great composers have earned him a place among the world's most revered musicians. Mr. Brendel's 2005/06 season includes orchestral concerts and solo recitals throughout Europe, as well as his annual North American tour featuring solo recitals in New York, Montreal, Chicago, Washington, D.C., and Detroit, in addition to performances with the Chicago Symphony and Daniel Barenboim, the Minnesota Orchestra and Osmo Vanska, and the Philadelphia Orchestra with Simon Rattle. In some cities and universities, he is also presented in readings from his several volumes of poetry. Alfred Brendel marks the 250th Mozart anniversary January 27, 2006 with a special performance of Mozart's final piano concerto, k. 595, with the Berlin Philharmonic and Simon Rattle at Carnegie Hall.

The world of Bach's concerti for various instruments is a complicated one. What survives is 2 concerti for solo violin (BWV 1041-1042), a concerto for two violins (BWV 1043), a triple concerto for flute, violin and harpsichord (BWV 1044), 6 other concerti for groups of solo instruments (The Brandenburg Concerti, BWV 1046-1051), and 14 concerti for one or more harpsichords (BWV 1052-1065).

The difficulty begins with the fact that the harpsichord concerti were probably all originally written for other instruments, and transcribed by Bach for the harpsichord. Most of the originals are now lost, and only the harpsichord transcriptions survive.

To confuse the issue, there have been many attempts to reconstruct the original concerti by musicians after Bach's death. So we now have “Bach's flute concerti” and “Bach's oboe concerti” (modern versions of the harpsichord concerti BWV 1053, 1055, 1056 and 1059) and even versions for the guitar.

Violin Concerto played by Arthur Grumieux
A minor, BWV 1041
Most of these concerti date from Bach's so-called Cöthen period from 1718-1723, a happy, productive time for Bach. His new employer, Prince Leopold of Anhalt-Cöthen seemed to be fond of the latest fad, the Italian-style Concerto, as typified by Vivaldi. The older German version had four movements, but Bach quickly adopted the Italian three-movement fast-slow-fast structure, the form that propelled it into the Classical period.

In Mozart's time, and from then on, the concerto became a showcase for the virtuoso soloist, the orchestra often in just a supporting role. Bach's concerti are very different. His is more a intricate dialog between orchestra and soloist, the solo instrument is very much a primus inter pares, first among equals, often not taking the limelight but adding to the overall texture of the music.

Concerto for Violin and Orchestra No.1 in A minor, BWV 1041
A spontaneous, infectious first movement, hurtling inevitably forwards, contrasting sharply with the pastoral slow movement, the violin truly singing. And ending with a rolling, jolly final gigue, famous for Bach's instruction to the soloist for bariolage, a bowing technique where a single note is played repeatedly alternating on stopped and open strings, producing a unique effect.