Sorry, just for the happy few (recording mid 50’s).
More about Egida Giordani Sartori at

Egida Giordani Sartori studied at the Conservatory “Benedetto
Marcello” in Venice and took her degree in piano with
Maestro Gino Tagliapietra. At fifteen she began her concert
career successfully as a pianist, later devoting herself to the
study of ancient music and of the harpsichord under the guide
of Maestro Perruedo Vignanelli. She then took her new
degree with highest honours at the Santa Cecilia Conservatory
in Rome, attending also the higher courses of that
academy. For some time she has been developing her career
as a harpsichord, player with concerts in Ita y and abroad;
she has played in the principal concert halls of Europe and
f o r several broadcasting stations, both in recitals and concerto
performances. In musical criticism and history she has
made special researches into harpsichord and chamber music
in Italian and foreign libraries with particular reference to
the Venetian School, bringing to light again such works as
those by Baldassare Galuppi and Benedetto Marcello. She
has made some of her specialised knowledge available for
use in encyclopaedias. She has taught the harpsichord at Milan
Conservatory since 19.S8 and she has formed the “Trio
Antico” and the ensemble “Musicorum Arcadia,” with which
she has toured successfully and made recordings. She.has also
made various solo-records and for Philips played Bach’s
Sonatas for Violin and Clavier with Arthur Grumiaux.

No apology need be made for Bach that he should have
transcribed other men’s work, for long before Tovey wrote,
Bach had understood well enough that “a theme belongs to
the man who knows how to use i t . ” I t was once thought
that his arrangements for harpsichord of concertos by Vivaldi
and Marcello were apprentice attempts to grasp the principles
of popular Italian concerto style. They clearly are not: not
only because works by Telemann and the Duke of Saxe-
Weimar (who compared to Bach was a raw amateur) also
served him as models, but also because these keyboard verslons
are a good deal more than laboured reproductions of revered
originals. Something quite vital has happened in transit; what
started Vivaldi has come out, unequivocally, Bach.
What has happened? Essentially, one may say, new turns of
details so apt and discerning as to assure Bach full claims
to creative originality. Just as Webern’s orchestration of parts
of Bach’s Musical Offering is no mere tepid hack-work, but
a fulsome exercise in personal idiom based on a given musical
idea, so these keyboard transcriptions are set in Bach’s own
world — entry provided by Vivaldi. The patron or admirer
who found them a good means of playing over to himself —
without the need to summon an orchestra — concertos in the
much loved Italian style would certainly have had to reckon
with Bach’s decisive intervention.

#EgidaGiordani