Himmelsburg - Violin Concertos Lina Tur Bonet & Musica Alchemica

• Johann Sebastian Bach (1685 - 1750): Violin Concerto in E Major, BWV 1042:
• 1Bach: Violin Concerto in E Major, BWV 1042: I. Allegro07:14
• 2Bach: Violin Concerto in E Major, BWV 1042: II. Adagio06:16
• 3Bach: Violin Concerto in E Major, BWV 1042: III. Allegro assai02:31
• Violin Concerto in D Minor, BWV 1052R:
• 4Bach: Violin Concerto in D Minor, BWV 1052R: I. (…)07:06
• 5Bach: Violin Concerto in D Minor, BWV 1052R: II. Adagio06:05
• 6Bach: Violin Concerto in D Minor, BWV 1052R: III. Allegro07:33
• Violin Concerto in A Minor, BWV 1041:
• 7Bach: Violin Concerto in A Minor, BWV 1041: I. (…)03:47
• 8Bach: Violin Concerto in A Minor, BWV 1041: II. Andante05:47
• 9Bach: Violin Concerto in A Minor, BWV 1041: III. Allegro assai03:29
• Violin Concerto in G Minor, BWV 1056R:
• 10Bach: Violin Concerto in G Minor, BWV 1056R: I. (…)03:45
• 11Bach: Violin Concerto in G Minor, BWV 1056R: II. Largo02:54
• 12Bach: Violin Concerto in G Minor, BWV 1056R: IV. Presto03:29
• Total Runtime59:56

Info for Himmelsburg - Violin Concertos

Himmelsburg is the name of the former chapel of Wilhelmsburg Castle in Weimar; Johann Sebastian Bach's "workplace" during his time as court organist and chamber musician at the Weimar court. This chapel was irretrievably destroyed in the great castle fire of 6 May 1774. In Bach's time; a high musical culture prevailed at the Weimar court. The young Prince Johann Ernst; himself a good violinist and harpsichordist; was enthusiastic about Italian music; and Bach was inundated with the latest concerti from Italy; especially by Vivaldi. In addition; there was close contact with the violin virtuoso Johann Georg Pisendel; so it is no exaggeration to call Weimar the concertante and violinistic cradle of Bach. On her new album; Lina Tur Bonet interprets "all" of Bach's four concertos for solo violin. All of them probably date from his Weimar period. The two original concertos BWV 1041 and 1042 contain many stylistic references to Vivaldi. In addition; Lina Tur Bonet presents the reconstructions of the concertos BWV 1052r and 1056r; two harpsichord concertos that were almost certainly originally intended for violin.

Lina Tur Bonet, violin Musica Alchemica

Lina Tur Bonet
is currently deeply engaged in two worlds which even today seem separate: the romantic-contemporary violin and the baroque violin.

Thus she has pursued a versatile, dynamic career chiefly distinguished by its variety. She is also interested in interdisciplinar y artistic forms and the study of musical symbology.

As soloist, she tours in Europe and South America, appearing at the Styriarte, Lufthansa London, Granada, Brezice, San Sebastián or Herne Festivals, filling halls such as the Vienna Musikverein, the Palau de la Música in Barcelona, the National Auditorium in Madrid, at the Munich Residenzwoche, the Amsterdam Concertgebouw, the ORF in Vienna, the Solís Theatre in Montevideo, the Coliseo in Buenos Aires, the Municipal Theatres in Santiago de Chile and Río de Janeiro and others, recording for the BBC in London, Spanish Radio and Television, TV3, German radio and television, television in Slovenia, Croatia and Bulgaria and the Austrian ORF. She has played all the Biber Rosary Sonatas in Vienna, conducting chamber orchestras in turn performing the Bach, Mendelssohn, Vivaldi or Piazzola concertos, and has just made the world’s first recording of the Tríos op. 34 by Boccherini, with La Ritirata. 

Lina Tur-Bonet has been sought to lead Il Complesso Barocco, the Clemencic Consort, the Bach Consort Wien, ExTempore Gent, the Neue Hofkapelle Munich, the Orchestra of the Palau de les Ar ts in Valencia, Euskal Barokensemble, Estil Concertant, Accademia del Piacere, Hippocampus, Forma Antiqva, Concerto Köln, the United Continuo Ensemble or the Royal Chapel in Madrid. She collaborates with Les Musiciens du Louvre, Les Arts Florissants, BandArt and the Mahler Chamber Orchestra.

With these groups, she works under the baton of Claudio Abbado, John Eliot Gardiner, Daniel Harding, Marc Minkowski, William Christie, Fabio Biondi, Federico Sardelli, Fabio Luisi, Kent Nagano, Ottavio Dantone, Alan Curtis, Rene Clemencic, Reinhard Goebel, Roy Goodman, Richard Egarr, Joshua Rifkin, John Holloway, Tugan Shokiev, or Paul Goodwin, touring with them all over the world, recording for Deutsche Grammophon, Virgin or Naïve, performing at the Lincoln Center in New York, the Berliner Philarmonie, La Scala in Milan, Royal Albert Hall, the Barbican Centre, Theatre des Champs Élysées, the Konzerthaus Wien, Bunkamura Hall, Thátre Royal de la Monnaie, Saint Petersbourg Philarmonie, etc.

As part of her chamber activity she played when still a student with Mennahem Pressler, Georg Faust, Patrick Demenga or Thomas Brandis, and currentl y shares the stage with Hiro Kurosaki, Anne-Marie Dragosits, Eugène Michelangeli, Patxi Montero, Josetxu Obregón, Kennedy Moretti, Daniel Oyarzábal, Christoph Hammer or Kenneth Weiss.

Lina Tur Bonet received her first music lessons aged three, from her father Antonio Tur. Much later, she trained as violinist at Freiburg and Vienna Universities under Chumachenco, Pichler and Kurosaki and in master classes with Höbarth, Varga, Gul li, Askenasi, Dumay, Silverstein and Kussmaul. 

She holds the Chair of violin at the Zaragoza Senior Conservatory, frequently teaching courses in the rest of Europe.

Musica Alchemica
The ensemble Musica Alchemica was founded in order to interpret music of all epochs and to carry out multidisciplinary projects. It was initiated by the Villa Musica Foundation, which assigned Lina Tur Bonet, as leader, with the task of founding a chamber orchestra which performed Händel’s Alessandro under the direction of Alan Curtis at Engers Castle and at the Potsdam Festival. Since then, Musica Alchemica has performed many other works, including Biber’s Rosary Sonatas in Vienna and Spain, and Four Seasons by both Vivaldi and Piazzolla. In addition, the ensemble has performed Bach’s violin concertos, sonatas of Jacquet de la Guerre, music from Spain and seventeenth-century Venice at various festivals (Brecize, Música Antigua de Zaragoza, Música Sacra Madrid, Brunnenthal, ORF Vienna, Teatro Carlos III de El Escorial and Kartause Mauerbach).

Musica Alchemica has recorded cantatas and trio sonatas of Legrenzi and violin sonatas of Bach and Händel with the harpsichordist Anne Marie Dragosits for the ORF, and collaborated with such artists as Kenneth Weiss, Patxi Montero, Eugène Michelangeli and Hiro Kurosaki. The ensemble has also staged the crossover project La Tumba negra (an homage to J. S. Bach) together with the poet Antonio Colinas. Musica Alchemica performs regularly in important museums and integrates audiovisual techniques into its productions in cooperation with actors and puppeteers, as well as with video and film makers.

This album contains no booklet.