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Review: This collection was first compiled in 1970 or so from recordings dating as far back as 1961. The set,
now remastered and issued on cd, includes performances by three generations of harpsichordists, with Gustav
Leonhardt providing the central focus. Leonhardt includes (in BWV 1060, 1062 and 1065) his former teacher
from the Schola Cantorum in Basle, Eduard Mueller (the student modestly playing second harpsichord to his
mentor in 1060 and 1065) while his own first-generation students Anneke Uittenbosch and Alan Curtis join him
for BWV 1061, 1063-1065. Completing the quartet of soloists in BWV 1065 is the generation-before-Leonhardt
Dutch harpsichordist, Janny van Waring. Another "star of the show" is Leonhardt's harpsichord, based on the
J.D. Dulcken instruments of 1745, and built in 1962 by the great German harpsichord maker, Martin Skowroneck
of Bremen. It was with this fine harpsichord (now owned by Bob van Asperen) that Leonhardt finally acquired
an instrument which was worthy of his truly formidable gifts. In the same way that Landowska's playing was
intimately connected with the sound of the Pleyel harpsichord which she used from 1912 to 1957, Leonhardt now
had an easily identifiable "sound" of his own. It was used in the solo concerto recordings except for BWV
1057 & 1058 (which had already been recorded in 1961). In the two triple harpsichord concertos, Leonhardt is
joined by Alan Curtis and Anneke Uittenbosch playing two more of Skowroneck's Dulcken models. Needless to
say, the producer for all these recordings (and the guiding light of the "Das alte Werk" series) was the
redoubtable Wolf Erichson.
Leonhardt's performances of six of the seven great solo concerti (BWV 1053-1058), plus his own reconstruction
of an eighth (BWV 1059, of which only nine bars were written out by Bach - the rest was assembled by
Leonhardt from the instrumental movements contained in Cantata BWV 35), are classics of the recorded
harpsichord repertoire. It is true that they show their age in some ways (mostly due to the recording
standards, especially in the 1961 recordings), but they still offer the listener the most direct and
"authentic" available encounter with Bach's pre-eminent works. Great musicianship is timeless, and I'm sure
that future generations of listeners will continue to draw inspiration from these great monuments of the
"period instrument" revival. Good music (and music-making) is forever.
Those looking for Leonhardt's performance of the d minor solo concerto (BWV 1052) will not find it here (he
recorded it both earlier and later, most recently for SEON). However the performance included here, by
Herbert Tachezi, playing a magnificent Skowroneck Italian single manual harpsichord from 1957 (which belongs
to Nikolaus Harnoncourt) with Concentus Musicus Wien, is just as great in its own way as Leonhardt's. Notice,
in this performance, the "meantone" tuning of the harpsichord (and strings!). It's really beautiful, and
beautifully recorded, too.
Younger generation listeners who have grown up with later versions of these works should do themselves a
favour and go straight to the source. Gustav Leonhardt continues amongst us - a shining presence at the age
of 74. These recordings will forever document the enormous debt which the world of "authentic performance"
owes to him. These performances will never be bettered: perhaps, in time, equalled.
Mention should be made of the members of Leonhardt's ensemble, the Leonhardt-Consort, led by his wife, Marie.
The string sound is unusually full-bodied for just single strings, and the energy and beauty of the
performances are infectious. It's a pity that the present set doesn't include the great performance (with
Frans Brueggen and Marie Leonhardt) of the a minor concerto for harpsichord, flute and violin (BWV 1044). And
the engineers still haven't repaired the gross editing mistake in the third movement of BWV 1053, where bar
65 is spliced in twice! (Amazing that this hasn't been picked up by somebody - Leonhardt, perhaps?!).
However, don't let these small caveats deter you from investigating this uniquely fine set. Like all the
greatest old masters, this one's flaws merely remind us of its supremely commanding overall stature.
Strongest recommendation.
:->TRACKLIST<-::
1. Concerto for Harpsichord in D minor, BWV 1052 by Johann Sebastian Bach
Performer: Herbert Tachezi (Harpsichord)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
2. Concerto for Harpsichord in E major, BWV 1053 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
3. Concerto for Harpsichord in D major, BWV 1054 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
4. Concerto for Harpsichord in A major, BWV 1055 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
5. Concerto for Harpsichord in F minor, BWV 1056 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
6. Concerto for Harpsichord and 2 Recorders in F major, BWV 1057 by Johann Sebastian Bach
Performer: Frans Bruggen (Recorder), Gustav Leonhardt (Harpsichord), Jeannette Van Wingerden (Recorder)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
7. Concerto for Harpsichord in G minor, BWV 1058 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
8. Concerto for Harpsichord in D minor, BWV 1059 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
9. Concerto for 2 Harpsichords in C minor, BWV 1060 by Johann Sebastian Bach
Performer: Eduard Muller (Harpsichord), Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: 1738-1739; Leipzig, Germany
10. Concerto for 2 Harpsichords in C major, BWV 1061 by Johann Sebastian Bach
Performer: Anneke Uittenbosch (Harpsichord), Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: 1738-1739; Leipzig, Germany
11. Concerto for 2 Harpsichords in C minor, BWV 1062 by Johann Sebastian Bach
Performer: Eduard Muller (Harpsichord), Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
12. Concerto for 3 Harpsichords in D minor, BWV 1063 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord), Anneke Uittenbosch (Harpsichord), Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
13. Concerto for 3 Harpsichords in C major, BWV 1064 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord), Anneke Uittenbosch (Harpsichord), Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany
14. Concerto for 4 Harpsichords in A minor, BWV 1065 by Johann Sebastian Bach
Performer: Eduard Muller (Harpsichord), Janny van Wering (Harpsichord), Anneke Uittenbosch (Harpsichord),
Gustav Leonhardt (Harpsichord)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: circa 1738-1739; Leipzig, Germany 56)
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