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Total Size:
1.6 GB
Info Hash:
4B6524358E9AD9E02A561043452AB7C4E4B111C5
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Added:
April 20, 2026, 7:49 p.m.
Stats:
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(Last updated: April 20, 2026, 7:54 p.m.)
| File | Size |
|---|---|
| 01 - Brandenburg Concerto No. 1.flac | 346.1 MB |
| 02 - Brandenburg Concerto No. 2.flac | 208.5 MB |
| 03 - Brandenburg Concerto No. 3.flac | 187.9 MB |
| 04 - Brandenburg Concerto No. 4.flac | 258.6 MB |
| 05 - Brandenburg Concerto No. 5.flac | 352.4 MB |
| 06 - Brandenburg Concerto No. 6.flac | 253.7 MB |
| back.jpg | 539.6 KB |
| booklet (1).jpg | 1.5 MB |
| booklet (2).jpg | 1.5 MB |
| folder.jpg | 270.8 KB |
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NOTE
SOURCE: Bach - Brandenburg Concertos 1-6 - Nikolaus Harnoncourt, Vienna Concentus Musicu
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COVER
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MEDIAINFO
1 Brandenburg Concerto No. 1 In F Major, BWV 1046 22:30
2 Brandenburg Concerto No. 2 In F Major, BWV 1047 13:52
3 Brandenburg Concerto No. 3 In G Major, BWV 1048 11:45
4 Brandenburg Concerto No. 4 In G Major, BWV 1049 16:28
5 Brandenburg Concerto No. 5 In D Major, BWV 1050 22:45
6 Brandenburg Concerto No. 6 In B Flat Major, BWV 1051 16:37
Artist(s): Conductor – Nikolaus Harnoncourt
Orchestra – Concentus Musicus Wien
Bassoon – Otto Fleischmann
Flute [Transverse], Recorder – Leopold Stastny
Harpsichord [Cembalo] – Georg Fischer
Horn [Naturhorn] – Hans Fischer, Hermann Rohrer
Oboe – Jürg Schaeftlein
Trumpet – Walter Holy
Viola – Kurt Theiner
Viola da Gamba – Ernst Knava, Nikolaus Harnoncourt
Violin – Alice Harnoncourt, Josef de Sordi, Siegfried Führlinger, Stefan Plott
Violino Piccolo – Alice Harnoncourt
Violoncello – Hermann Höbarth, Nikolaus Harnoncourt
Violone – Eduard Hruza
Recording Info: Recorded Palais Schönburg, Vienna 1964
Sourced from a 2-track tape
Analog: Transferred using a modified Studer 810 tape deck feeding a Merrill Tape Preamp
Digital: Merging Hapi Analog to Digital Converter clocked by an Antelope Audio 10MX Atomic Clock
Power Conditioning: Shunyata Research Everest 8000 for all components
All components grounded to Shunyata ALTAIRA Hubs
Harnoncourt's approach has drawn both praise and debate. Some critics laud his historically informed techniques for their authenticity and intellectual rigor, while others find his interpretations too mannered or eccentric. Nevertheless, this recording remains a landmark for those interested in experiencing Bach's Brandenburg Concertos through the lens of Baroque performance practice.
Harnoncourt viewed the Brandenburg Concertos not just as virtuosic showcase pieces but as profound expressions of Baroque musical thought. His focus was on the structural clarity of the music and the conversational interplay between the instrumental voices. His interpretation avoids overt romanticization, preferring instead to reveal the intricate polyphony and dance elements that Bach embedded within the scores
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