Luciano Sgrizzi Neupert harpsichord, ‘Concertos de Vivaldi transcrits pour clavecin seul par J.S. Bach’
Released 1968 by Cycnus 9.011
Enreglstremem realise a Lugano, en la cathedrale San Lorenzo, grace a la courtoisie de Don Cortella, le 7 Octobre 1963.
Micro stereophonique Neumann, type U 67. Ingenieur du son: Peter Willemoes Courbe d ‘enreqistrement et de gravure: CCIR Cycnus 9011

Les 2° et 3° mouvements du Concerto N° 3 ne sont probablement pas de Vivaldi., Nous n ‘avons pas cru necessaire de publier les 2° et 3° mouvements au Concerto N° 6, qui ne sont certainement pas de Vivaldi et ne presentent que peu d’interet.
Face A
Concerto no 1 en ré majeur BWV 972
00:00 Allegro
02:16 Larghetto
05:35 Allegro
Concerto no 2 en sol majeur BWV 973
08:10 Allegro
10:55 Largo
13:35 Allegro
Concerto no 3 en sol mineur BWV 975
16:15 Allegro
19:42 Largo
24:07 Gigue Presto

Face B
Concerto no 4 en ut majeur BWV 976 11’08
26:01 Allegro
30:11 Largo
33:38 Allegro
Concerto no 5 en la majeur BWV 978 8’20
37:13 Allegro
39:54 Largo
42:43 Allegro
Concerto no 6 en sol majeur BWV 980 4’15
45:36 Allegro

It is curious and significant that through
these pieces we get to the very heart of J.S.
Bach, the quintessence of his works; in addition
luciano Sgrizzi’s performance restores
a perfect combination: that of the italian and
german genius.
“Arrangements,” one might say … yes, and
therein lies the miracle. Arrangements,
simple transcriptions even, often* done as·an
exercise by Bach to satisfy his desire for
eX,lOerience and a certain academicism and
also so as to have some material when required
to perform. Is that all? If one could answer
that question one would have succeeded
in .psychoanalyzing Bach. At any rate one
. can establish certain facts here, and giveperhaps
imprudently-one’s own opinion.
One forgets all too .easily that B’ach was the
comtemporary, in its wider sense, of his sons
Wilhelm-Friedmann and Karl Philipp Emanuel,
not to mention Telemann, born four years
before him and susceptible to all the new
trends. .’
J.S. Bach turned towards “old-fashioned”
counterpoint at a time when it had disappeared
everywhere else. That is why his also
disappeared after his death.
To go even further, Bach was a man of the
Middle Ages, and therefore a stranger to
what the Renaissance had been insidiously
introducing for the last 200 years into the
cult of musical individualism. He loved to
work in what had already been worked. The
artisan gave way to the artist; everything points
to it, eV.en mare so in the classical era that
11 est etrange et significatif que nous accedions,
par ces pieces, au cceur meme de
J.-S. Bach, au centre du corps de son ceuvre;
outre que le jeu exemplaire de Luciano Sgrizzi
restitue une exemplaire confluence : celle
des genies italien et germanique~
” Arrangements”, dira-Fon… oui – et le
miracle est la. Arrangements, simples . transcriptions,
meme, souvent*, faits par J .-5. Bach
pour son etude, pour satisfaire son goOt de
I’experience et de la pedagogie, afin aussi
d’avoir de la matiere 10rsqu’iI est oblige de
donner des executions musicales. Est-ce la
tout? Repondre, sera it psychanalyser le
compositeur. Du moins, pouvons-nous operer
quelques constatations, et donner imprudemment
·notre point de vue.
On oublie trop que Bach est, llU’ sens large,
le contemporain de ses fils Wilhelm-Friedmann
et Karl-Philip Emmanuel, sans parler
d’un Telemann, ne quatre ans avant Iui et
ouvert a tous les courants nouveaux.
J.-S. Bach est tourne vers le vieux contrepoint
a une epoque oCr celui-ci est elimine
partout ailleurs. C’est pourquoi lui-meme sera
elimine apres sa mort.
tiT.. .
Disons mieux : Bach est un homme du
Moyen-Age, etranger a ce que la Renaissance
a commence d’apporter, insidieusement,
depuis deux siecles, au culte de I’individualisme
musical. Sa p’assion est de travailler
ce qui a deja ete travaille. L’artisan va faire
place a I’artiste; tout le laisse presager, plus
encore qu’au cours de I’ere classique qui
suivra, et qui ioterrompra provisoirement ·un
certain courant romantique – BHch est en
N.B. Les 2′ et 3′ mouvements du Concerto
N° 3 ne sont , probablement pas de
Vivaldi.,
– Now: n’avons oas cru necessaire de
followed, and temporarily interrupted a certain
romantic trend from which Bach stands apart,
but whiCh Wilhelm-Friedmann and Gluck so
amply illustrate. What a paradox! It is in
fact beciiluse of his opposition to pre-romanticism-
a movement mingled with the sources
of classicism, then stifled by him only to
spr!ng up again-that Bach is considered by
romantics as a precursor. Nevertheless his
genius lies in the way in which he achieved a
combination (his meditation. as we know, is
studied, as his joy is meditative). He attaches
less importance to discovery than to arrange~
ment. Only God can create; Bach’s philosophy
of art is of a theological nature. So also
is the tolerance with which he tempered his
habitual severity towards his sons.

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