Concertos for Recorder Lorenza Cavasanti, Cantica Symphonia and Giuseppe Maletto

• Johann Sebastian Bach (1685 - 1750): Concerto in D major for flute & strings, BWV 1053 (R):
• 1Bach: Concerto in D major for flute & strings, BWV 1053 (R): I. Adagio07:42
• 2Bach: Concerto in D major for flute & strings, BWV 1053 (R): II. Siciliano04:14
• 3Bach: Concerto in D major for flute & strings, BWV 1053 (R): III. Allegro06:22
• Sinfonia dalla Cantata BWV 76 for flute, viola & b. c.:
• 4Bach: Sinfonia dalla Cantata BWV 76 for flute, viola & b. c.: Adagio - Allegro02:42
• Concerto in G minor for violin & strings, BWV 1056:
• 5Bach: Concerto in G minor for violin & strings, BWV 1056 (R)03:32
• 6Bach: Concerto in G minor for violin & strings, BWV 1056 (R): II. Largo03:06
• 7Bach: Concerto in G minor for violin & strings, BWV 1056 (R): III. Presto03:50
• Concerto in A major for flute & strings, BWV 1055 (R):
• 8Bach: Concerto in A major for flute & strings, BWV 1055 (R): I. Allegro04:15
• 9Bach: Concerto in A major for flute & strings, BWV 1055 (R): II. Larghetto05:27
• 10Bach: Concerto in A major for flute & strings, BWV 1055 (R): III. Allegro ma non tanto04:28
• Sonata dalla Cantata BWV 182, per flauto, violino, 2 viole e b.c.:
• 11Bach: Sonata dalla Cantata BWV 182, per flauto, violino, 2 viole e b.c.: Grave, Adagio02:34
• Concerto in C minor for flute, violin & strings, BWV 1060 (R):
• 12Bach: Concerto in C minor for flute, violin & strings, BWV 1060 (R): I. Allegro05:01
• 13Bach: Concerto in C minor for flute, violin & strings, BWV 1060 (R): II. Adagio04:56
• 14Bach: Concerto in C minor for flute, violin & strings, BWV 1060 (R): III. Allegro03:45
• Total Runtime01:01:54

Info for Concertos for Recorder

Although Bach obviously felt at home composing for the recorder and used it in important works such as the Brandenburg Concertos and several cantatas, he never composed a concerto for solo recorder - in fact, he only wrote original solo concertos for harpsichord and violin.

The lack of solo concertos for the recorder can be remedied, however: it is precisely his concertos for harpsichord that Bach demonstrably transcribed himself, although it is not always clear for which of the missing originals they were intended.

Even f in some cases other instruments are more likely, it is at least not objectionable to play some of these concertos with recorder.

The ensemble Cantica Symphonia has chosen Bach's concertos BWV 1053 in D major, BWV 1055 in A major for its recorder player Lorenzo Cavasanti, while violinist Liana Mosca plays the concerto BWV 1056 in G minor.

Both together play the Concerto BWV 1060 in C minor, originally for two harpsichords.

Lorenza Cavasanti, recorder
Liana Mosca, violin
Cantica Symphonia
Giuseppe Maletto, conductor

Lorenzo Cavasanti
was born in Genoa and is regarded as one of the finest recorder player of the time.

He studied recorder and early music with Frans Brüggen, Kees Boeke, Walter van Hauwe and graduated in recorder and baroque transverse flute in Milan, with Pedro Memelsdorff and Ezequiel M. Recondo. As a solist, he appers in prominent music festivals, such as the "BBC Proms" in London, Mozartwoche in Salzburg, Citè de la Musique in Paris, Festival Internazionale di Musica Antica di Urbino, Barokfest Munster (Germany) and performed in some of the most prestigious venues as the Mozarteum of Salzburg, at the Concertebow of Amsterdam, at the Gran Teatre de Liceu of Barcelona, at the Teatro Alla Scala of Milan, at the Prinzregententheater of Munich and at the Tonhalle of Zurich.

In 1991 Lorenzo Cavasanti started an intense and successful recording activity, hailed by many awards from the international critic: the Cini Foundation in Venice awarded his recording of Mancini sonatas, while the series of recordings devoted to Telemann by Tripla Concordia, received prizes and awards from all over the world. He presently teaches recorder, traverso and Baroque chamber music at the Bozen Conservatory of Music.

He gives also masterclasses at the Universität Mozarteum Salzburg, at the ESMUC Barcelona, at the Universität für musik und darstellende kunst Wien and at the Royal College of Music of London and of Stockholm.

Liana Mosca
whose parents are Italian and American, was born in Zurich and began studying the violin with Lee Robert Mosca at the Suzuki Talent Center in Turin. In 1988 she received her music degree at the Milan Conservatory under Osvaldo Scilla. In 1993 she obtained her Konzert-Diplome at the Musik Akademie der Stadt Basel under Heinzhein Schneeberger. In 1987 she won the first of many competitions in Italy, and joined the Gustav Mahler Jugendorchester and the Youth Orchestra of United Europe, directed by Claudio Abbado. In 1993 she became a member of the Deutche Kammerakademie directed by Johannes Goritzky, and in 1998 she began performing with the early music ensemble Il Giardino Armonico, directed by Giovanni Antonini, which she continues to do to this day. In 2001 she was granted a Kammermusik diploma at the Vienna Conservatory, as a student of the Altenberg Trio. Liana Mosca also takes parts in various projects with the Swiss Baroque Soloists, Academia Montis Regalis, Accademia del Santo Spirito, Ensemble Baroque de Limoges and, as first violin, in the Como's Theatre Orchestra 1813, Milano Classica, Accademia dei Solinghi and Musici Estensi. Since 2010 she has been a member of the newly-founded Ensemble Cappella Gabetta and the Ensemble Claudiana, directed by Luca Pianca wich whom she is taking part in the performance of all the Cantatas by J.S. Bach, in the Wienerkonzerthaus. She is also involved in research into the evolution of the Sonata for fortepiano and violin from 1750 to 1810, conceived by the musicologist Hervé Audéon, with Pierre Goy and Nicole Hostettler, as part of the training courses at the Fondation Royaumont.

She recorded for many labels such as Decca, Naïve, Lyrinx. Among others the Pugnani Sonate and Triosonate for the label Stradivarius, music by Chopin with the Ensemble 1813 on period instruments, and works by Bohely, Albrechtsberger and Haydn with the Ensemble Baroque de Limoges on the viola and viola d’amore.

She teaches at the Accademia Suzuki in Turin and is a Teacher Trainer with the Suzuki Institute.

Booklet for Concertos for Recorder