Luogo e data di registrazione		Wien (Austria) - Januar 1967 * 1976 ** Wien (Austria) - März und September 1969 ***
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken - SAWT 9508-A - (1 LP) - durata 47' 09" - (p) 1967 - Analogico * Telefunken - 6.42032 AW - (1 LP) - durata 45' 21" - (p) 1977 - Analogico ** Telefunken - SAWT 9557-B - (1 LP) - durata 42' 11" - (p) 1970 - Analogico ***
	Edizione "Reference" CD		Tedec - 8.44014 ZS - (1 CD) - LC 3706 - durata 72' 58" - (c) 1988 - AAD
	Cover		"Das Gehör", aus einer Folge der "Fünf Sinne", Porzellan. Modell J. F. Lück, Frankenthal um 1759. Museum für Kunst und Gewerbe, Hamburg.
	Note		This Compact Disc is the miscellany of three Telefunken publications: one unabridged (SAWT 9508-A) and two partials: 6.42032 AW (BWV 1056) and SAWT 9557-B (BWV 1060).

In the Concerto in D minor for two solo violins, the dialogue does not take place, as one might expect, between the solo instruments, but between both instruments and the orchestra. To make the music “speak” was one of the chief desires of composers and performers. The articulation of the semiquaver notes, as in the first movement of this concerto, must thus always be varied, far removed from the uniform “Bach stroke”. - In the slow movement the orchestra has only a continuo function. The two solo instruments vie with one another in their wonderful melody, while here again the great line may not inhibit the details of the phrasing. The present-day ideal of continuo sostenuto playing was foreign to the musicians of that time; each note had to “have its proper strength and weakness”. Bach’s phrasing is meticulous in the extreme, and never to be understood as mere bowing marks but as specifically required articulation. - The old requirement “in each bar a different emotion” is very clearly realized in the third movement. In the middle of the hectic chase of the opening tutti there are two imploring interjections by the soloists which are brusquely rejected by the orchestra. The main motif of the solo violins is formed from these interjections. The orchestra adheres to the impetuous opening motif throughout the movement. Specifically prescribed springing types of bowing give rise to jazz-like shifts of accent. Extreme contrasts are the main feature of this movement. The Concerto in E major is, in the relative weight of its movements, almost reminiscent of an ouverture-suite. In the broadly conceived first movement the orchestra carries the main part of the musical substance, whereas the solo is always of a dreamily improvisatory character. The Adagio cadenza of this movement is composed without a bass; the chords otherwise played here are from the harpsichord version of the concerto. There they make sense, since such a melody in a single part sounds senseless on the harpsichord, a chordal instrument; on the violin the empty, completely free descent particuarly underlines the spontaneous, improvisatory character of this part. - The slow movement is constructed on an ostinato bass. Here the soloist has the opportunity, as already in the first movement, for baroque rubato playing. In the accompanying string parts Bach uses the popular effect of the bow tremolo or bow vibrato; the orchestra accompanies the soloist in chords “with a pulsating hand in which the bow is held, in the manner of the Tremulant on the organs...” (Farina, 17th century). These weighty movements are followed by a light Rondo, in the episodes of which the solo part leads ever new transformations of arpeggio figures to a turbulent conclusion. In the two outer movements of the Concerto in A minor, the thematic material of the introduction is given exclusively to the orchestra,while the solo passages are strongly contrasted to it in expression. In the accompaniment of some solo passages of the first movement, Bach again uses the bow vibrato described above. - In the slow movement, the basso ostinato is not played exactly in rhythm as noted down but, in accordance with the rules of the time, the demisemiquaver group is played somewhat late. The Finale acquires a dance-like character through the rhythm and forward-driving energy of the gigue. The music world has long since been aware of the fact that, in addition to the famous violin concertos in A minor and E major, as well as the double concerto in D minor. Johann Sebastian Bach composed further violin concertos and at least one oboe concerto. Some of the missing concertos were preserved in the form of harpsichord concertos as arranged by Bach himself. For this reason not only enthusiastic Bach virtuosos, but lately also Bach researchers (Siegel 1957, Fischer 1971 and Breig 1976) have gone into the question of whether and to what extent it is possible approximately to recover the lost originals by means of reconstruction. Musicological investigations concentrated in particular on the autograph (written by Bach himself) scores of the harpsichord versions, since these reflect the process of rearrangement in many details (violin effects in the harpsichord descant, corrective processes, insertions, melody turns, basic changes or octave transpositions taking into account the restricted tonal range of the harpsichord, unusual part leading, among other things). Evaluations of such characteristics was considerably eased by the fact that also the violin concertos in A minor and E major and the 4th Brandeburg concerto (actually also a violin concerto) have come down to us as autograph arrangements for harpsichord providing important clues to Bach’s working techniques. The method of critical examination of the sources is also the basis of reconstructions of the Violin Concertos in D minor (according to the Harpsichord Concerto in D minor, BWV 1052) and in G minor (according to the Harpsichord Concerto in F minor, BWV 1056). As with the D minor concerto, the keyboard (harpsichord) concerto in F minor leaves no doubts about its original existence as a violin concerto, and what is more, in G minor. The fact that only the violin can be regarded as the original solo instrument is evident from typical violin passages in the harpsichord descant, which to start with was designed with the open G string in mind, as well as from other violinistic performance figures which cannot be reproduced on the harpsichord with the same effect. That G minor instead of F minor was the original key of the concerto is apparent, among other things, from unusual voice leading, which can only be explained by transposition from G minor to F minor. Bach evidently saw himself compelled to transpose the keyboard version due to the fact that the original violin part (tonal range g to e-flat’”) exceeded the tonal range of the harpsichord (highest note normally d’”). The three movements of the work, which greatly differ with regard to manner and content, could be interpreted as the musical representation of different temperaments. The first movement in the main draws its effect from the contrast between the sedate ritornello theme (with its insistent repetition of rhythmic and melodic flourishes) and the lively triplet motion of the solo part. The Largo on the other hand with its wideranging melodic arcs is more inclined to display romantic traits. As opposed to this, the concluding movement marked “Presto” is markedly illhumoured in temperament, expressing itselfin the spirited ritornello theme, in an almost complementary rhythmic semiquaver movement, in the playful imitation of pithy motifs, in sweeping alternating figures and dramatic question and answer passages. There is every indication that Bach did not insert the centre movement until arranging the harpsichord version; the original centre movement has therefore been lost. Thus, in the interest of musical practice the New Bach Edition has taken over the Largo of the keyboard version transposed to B-flat major and transcribed for violin in the reconstruction form. The Double Concerto for Violin and Oboe has come down to us only in a C minor arrangement for two harpsichords. The difference between the two solo parts and the frequent unison passages of the first solo part with the tutti violins lead to the probably correct assumption that here we have the missing Concerto for Violin and Oboe listed in the Breitkopf catalogue as no. 1764. By transposing the work back to D minor the arpeggio passages on the violin (open A’ and E” strings) acquire a natural technical facility. For this recording we have tried to achieve a new reconstruction, using as models Bach’s own arrangements of other concertos, in particular of violin concertos where both versions are extant. Without any need for additional “arranging”, merely from the techniques of the instruments, the solutions presented themselves so naturally that we believe we have come very near to the lost original.