Lorenzo Cavasanti - Sonatas Chaconne & Follies - COMPACT DISCS [CD]

The motivations behind a choice The basic question we asked ourselves in taking on this work was whether it was practicable and interesting on an artistic level to study and perform these trio sonatas by Bach using musical instruments that he had not originally envisaged, but which nevertheless belonged to his era and musical environment. We are now convinced that the answer is affirmative, and not only that, but that this kind of experience of study and listening can lead to the discovery of details and expressive resources that are fully inherent to the music that Bach composed. On the other hand, it is well known that reworking, InchaccommodationInch, as it was then often referred to, was a daily and natural practice in the Baroque era, both at the compositional level and at the performance level tout court (the distinction, with the consequent value judgement, between an InchoriginalInch and it's adaptations, belongs to a more modern sensibility) the motivation for such operations, which were considered entirely legitimate, often derived from marketing requirements (think, for example, of the numerous title pages of printed works explicitly designated for various different instruments in order to attract more buyers Inch[...] for a German flute, Violin, Hautbois or Harpsichord [...]Inch etc.) and the intended use for teaching purposes and the study of composition, as well as from the availability, in a given court environment, of instruments and virtuosos of particular ability, or even simply the need to have ready-made musical material, one's own or that of others, to be adapted to other ensembles and other functions. What was and is important to us is the survival of the original idea of the work. Indeed, if respected, this is revived and communicated to the listener in all it's potential thanks to the different timbres, the different dynamics and the various

?Although Bach obviously felt at home composing for the recorder and used it in important works such as the Brandenburg Concertos and several cantatas, he never composed a concerto for solo recorder - in fact, he only wrote original solo concertos for harpsichord and violin. The lack of solo concertos for the recorder can be remedied, however it is precisely his concertos for harpsichord that Bach demonstrably transcribed himself, although it is not always clear for which of the missing originals they were intended. Even f in some cases other instruments are more likely, it is at least not objectionable to play some of these concertos with recorder. The ensemble Cantica Symphonia has chosen Bach's concertos BWV 1053 in D major, BWV 1055 in A major for it's recorder player Lorenzo Cavasanti, while violinist Liana Mosca plays the concerto BWV 1056 in G minor. Both together play the Concerto BWV 1060 in C minor, originally for two harpsichords.

Fun Machine The Sequel is Lake Street Dive's second set of distinctive cover songs. While 2012's Fun Machine paid homage to their classic R&B, soul, and jazz roots, Fun Machine The Sequel expands the aperture wider, featuring selections from R&B and pop favorites like Dionne Warwick's InchAnyone Who Had a Heart,Inch The Pointer Sisters' funky InchAutomatic,Inch The Cranberries' gorgeous InchLinger,Inch Carole King's classic InchSo Far Away,Inch and Shania Twain's pop-country anthem, InchYou're Still the One.Inch CD Packaging CD Softpak.