Two of the concertos on this album, the D minor and G minor, are reconstructions of lost works, based on later versions Bach made for other instruments.
Composer's Artistic Vision
Bach's compositional style, a blend of Italian and German influences, was shaped by his study of concertos by composers like Vivaldi, the Marcello brothers, and Torelli.
Historical Context
Bach's court orchestra at Cöthen, where he was Kapellmeister from 1717 to 1723, likely had a small core of players, supporting the idea of one instrument per part.
Interpretation
Leonidas Kavakos decided to perform these concertos with only one instrument per part, believing it creates a more intimate sound and that the solo voice is "first among equals."
Performer Biography
Leonidas Kavakos, the violinist on this album, previously recorded Bach's Six Partitas and Sonatas for solo violin, which this album follows.
Interpretation
Leonidas Kavakos uses a modern bow crafted by François Xavier Tourte, who perfected its model in the early 1800s, for this recording, valuing its "endless possibilities" over a classical bow.
