The concertos on this recording are performed with single strings, as there is no evidence in Bach's original manuscripts or oldest sources to suggest that doubled string parts were intended.
Composition History
Most of Bach's concertos for one to four harpsichords are likely arrangements of his own earlier works or, in the case of the concerto for four harpsichords, arrangements of works by Antonio Vivaldi.
Historical Context
For J.S. Bach and his circle, the term 'violoncello' referred to an instrument played on the arm, known as the 'violoncello da spalla' (shoulder cello), rather than the instrument held between the legs (da gamba) that is common today.
Composer's Artistic Vision
J.S. Bach frequently reused his earlier works, always proceeding creatively and carefully, sometimes reworking pieces multiple times.
Historical Context
In Bach's time, the term 'concerto' had multiple meanings and was not yet associated with the dramatic, virtuosic confrontation between a soloist and a vast orchestra, a connotation that developed later in the 18th, 19th, and 20th centuries.
Performer Biography
Sigiswald Kuijken, the violinist and violoncello da spalla player on this album, introduced a historically authentic Baroque violin playing style in 1969 where the instrument rests on or under the collarbone, rather than being held between the chin and shoulder.
Performer Biography
Sigiswald Kuijken founded La Petite Bande, the ensemble on this recording, in 1972 at the suggestion of Harmonia Mundi to record Lully's Le Bourgeois Gentilhomme, aiming for an authentic sound using period instruments and playing techniques.
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