Transcriptions of Bach works (Bonus Track Version) (Bonus Track Version) Laterna Magica

• Johann Sebastian Bach (1685 - 1750): Violin Sonata No. 2 in A Major, BWV 1015 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica):
• 1Bach: Violin Sonata No. 2 in A Major, BWV 1015 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): I. Dolce03:07
• 2Bach: Violin Sonata No. 2 in A Major, BWV 1015 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): II. Allegro assai03:17
• 3Bach: Violin Sonata No. 2 in A Major, BWV 1015 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): III. Andante un poco02:54
• 4Bach: Violin Sonata No. 2 in A Major, BWV 1015 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): IV. Presto03:39
• Trio Sonata No. 3 in D Minor, BWV 527 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica):
• 5Bach: Trio Sonata No. 3 in D Minor, BWV 527 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): I. Andante04:34
• 6Bach: Trio Sonata No. 3 in D Minor, BWV 527 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): II. Adagio e dolce03:54
• 7Bach: Trio Sonata No. 3 in D Minor, BWV 527 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): III. Vivace03:49
• Ich ruf zu dir, Herr Jesu Christ, BWV 639 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica):
• 8Bach: Ich ruf zu dir, Herr Jesu Christ, BWV 639 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica)02:20
• Trio Sonata No. 5 in C Major, BWV 529 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica):
• 9Bach: Trio Sonata No. 5 in C Major, BWV 529 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): I. Allegro04:52
• 10Bach: Trio Sonata No. 5 in C Major, BWV 529 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): II. Largo05:16
• 11Bach: Trio Sonata No. 5 in C Major, BWV 529 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): III. Allegro03:35
• Herr Jesu Christ, dich zu uns wend, BWV 655 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica):
• 12Bach: Herr Jesu Christ, dich zu uns wend, BWV 655 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica)03:23
• Trio Sonata in G Major, BWV 1039 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica):
• 13Bach: Trio Sonata in G Major, BWV 1039 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): I. Adagio03:20
• 14Bach: Trio Sonata in G Major, BWV 1039 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): II. Allegro ma non presto03:31
• 15Bach: Trio Sonata in G Major, BWV 1039 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): III. Adagio e piano02:39
• 16Bach: Trio Sonata in G Major, BWV 1039 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica): IV. Presto02:59
• Wachet auf, ruft uns die Stimme, BWV 645 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica):
• 17Bach: Wachet auf, ruft uns die Stimme, BWV 645 (Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica)04:23
• Ennio Morricone (1928 - 2020): Gabriel's Oboe (From "The Mission") [Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica] (Bonus Track):
• 18Morricone: Gabriel's Oboe (From "The Mission") [Arr. for Recorders, Cello, Harpsichord & Organ by Laterna Magica] (Bonus Track)02:22
• Total Runtime01:03:54

Info for Transcriptions of Bach works (Bonus Track Version) (Bonus Track Version)

Continuing its exploration of the rich baroque repertoire, the album invites us to discover a new vision of the great composer Bach through creative reworkings.

Dive into the musical universe of mimesis according to the models initiated by J.S Bach and let yourself be transported by Italian jubilation, French gallant charm and German learned counterpoint.

The present recording continues Laterna Magica’s exploration over the past 15 years of the rich repertoire of the Baroque era, focussing on great composers such as Handel and Bach, whose vocal and instrumental works invite adaptation by performers to different soundscapes. Since their exciting album Exercitium, devoted to Bach’s trio sonatas, which appeared in 2005, Laterna Magica, faithful to their work of musical transcription, has appropriated the process of imitation in accordance with the practice of Johann Sebastian Bach, who was so skilful in the art of “mimesis”, a concept we can trace back to Greek antiquity. Platonic mimesis responds to a desire to come close to nature or to reality, linking pictorial art to the supreme ideal of beauty. More nuanced, the Aristotelian approach extends this term to “representation” in a more theatrical sense. Both converge towards the idea of imitatio, which links them, but without assimilating them to the identical reproduction of a model. It is in this spirit that the artistic “imitation” of the famous Cantor of Leipzig, who was always drawing upon earlier repertoire, can be understood as an inventive recomposition. Whether based on forms in several separate movements, on ornamental and melodic formulae, his music offers a synthesis with Italian jubilation, the “charme galant” of French music, and the german art of counterpoint.

Laterna Magica

Laterna Magica
is composed of qualified musicians or teachers from the higher conservatoires of Brussels, Paris and The Hague. Preferring the interpretation of trio sonatas originating from the baroque period, the ensemble does not however ignore the historical tradition of arrangements and transcriptions, and indeed reserves a special place for these in its concert programmes. Their first CD recording, Exercitium, dedicated to J.S. Bach, has been published in 2007. Laterna Magica performs regularly in various concert halls and festivals throughout Europe and has performed several times in Asia (Vietnam, India, Singapore, China, Chuncheon International Early Music Festival, South Korea) and in Latin America (the Encuentro musical Boliviano-Europeo in La Paz and Festival Misiones de Chiquitos in Santa Cruz, Bolivia, Festival Esteban Salas in La Habana, Cuba, Semaine de la Francophonie, Brazil). During these trips beyond European borders the musicians from the ensemble have also developed an educational project within certain conservatoires consisting of lectures and master classes based on both baroque and contemporary music.

Booklet for Transcriptions of Bach works (Bonus Track Version) (Bonus Track Version)