VIVALDI: Concerto for 4 Harpsichords (arr. J.S. Bach) / Concerto for 4 Harpsichords (arr. Dart) / J.S. BACH: Concerto for 3 Harpsichords (ESR • 3)

£9.99 + P&P

Released late Summer 2019
FHR60 Categories: , , ,

Description

FHR Remasters

Johann Sebastian BACH (1685–1750)
Concerto for 3 Harpsichords and Strings in C major, BWV 1064
1. I. Allegro
2. II. Adagio
3. III. Allegro

Eileen Joyce, George Malcolm, Thurston Dart harpsichords
Denis Vaughan continuo
The Pro Arte Orchestra • Boris Ord

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Antonio Lucio VIVALDI (1678–1741) arr. J.S. BACH
Concerto for 4 Harpsichords and Strings in A minor, BWV 1065
(arr. of Vivaldi’s Concerto in B Minor, Op. 3, No. 10, RV 580)
4. I. Allegro
5. II. Largo
6. III. Allegro vivace

Eileen Joyce, George Malcolm, Thurston DartDenis Vaughan harpsichords
The Pro Arte Orchestra • Boris Ord

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VIVALDI arr. Thurston Dart (1921–1971)
Concerto for 4 Harpsichords and Strings in D minor
(arr. of Vivaldi’s Concerto in A minor, Op. 3, No. 11, RV 565)
7. I. Allegro–Adagio
8. II. Largo
9. III. Allegro vivace
10. IV. Allegro

Eileen Joyce, George Malcolm, Thurston DartDenis Vaughan harpsichords
The Pro Arte Orchestra • Boris Ord

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George MALCOLM (1917–1997)
11. Variations on a Theme of Mozart for 4 harpsichords

Eileen Joyce, George Malcolm, Thurston DartDenis Vaughan harpsichords

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Jan Pieterszoon SWEELINCK (1562–1621)
12. Variations on ‘Mein junges Leben hat ein End’ 

William BYRD (1538–1623)
13. The tennthe Paviane and Gagliarde ‘Mr W. Peter

Johann Jakob FROBERGER (1616–1667)
14. Toccata No. 2

Johann PACHELBEL (1653–1706)
15. Ciaconna

Ralph Kirkpatrick harpsichord

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1-11 recorded at No. 1 Studio, Abbey Road, 12-13 October 1956
Producer: Geraint Jones
Stereo balance engineer: Christopher Parker

12-15 recorded at No. 1 Studio, Abbey Road, 10-12 August 1956
Producer: Geraint Jones
Stereo balance engineer: Robert Arnold

Tracks 1-6 from HMV 7.5ips stereosonic open reel tape SCT 1511; first stereo release on compact disc
Tracks 7-15 first release in stereo

All tracks remastered by FHR

All source materials used in this issue are from the Archive of Recorded Sound (ARS).
For more information, please visit: www.archiveofrecordedsound.com/