Johann Sebastian Bach (1685-1750)
Concerto pour flûte à bec et orchestre en mi bémol majeur d'après les Concertos, BWV 1053, 169 et 49 (arr. A. Friggi & A. Stegmann)
Concerto pour violon et cordes en ré mineur d'après les Concertos, BWV 1052 et 146 (arr. E. Saladin & A. Friggi)
Concerto pour hautbois et cordes en sol mineur d'après le Concerto, BWV 1056
Concerto pour clavecin, 2 flûte à bec et cordes en fa majeur BWV 1057 d'après le Concerto, BWV 1049

Ensemble Odyssee

Andrea Friggi, clavecin
Georg Fritz, hautbois
Anna Stegmann, flûte à bec
Eva Saladin, violon

For a long time, the fact that three of J.S. Bach’s harpsichord concertos are arrangements of earlier violin concertos led scholars to suspect that the remaining concertos were also adaptations of lost works for strings or winds, prompting several musicologists to attempt reconstructions. However, recent research has shown that they are more likely arrangements of earlier keyboard works. But what would Bach have done if he had to perform one of these pieces again and wished to showcase a different solo instrument? Ensemble Odyssee explores this question with three brand-new arrangements, presented alongside Bach’s own arrangement of his Fourth Brandenburg Concerto, each piece showcasing the virtuosity of the ensemble’s four core members.