Utwory na płycie:

• Ouverture No. 4 in D major, BWV 1069, 1. Ouverture
• Ouverture No. 4 in D major, BWV 1069, 2. Bourree I+II
• Ouverture No. 4 in D major, BWV 1069, 3. Gavotte
• Ouverture No. 4 in D major, BWV 1069, 4. Menuett I+II
• Ouverture No. 4 in D major, BWV 1069, 5. Rejouissance
• Concerto in F major, BWV 1057, 1. Allegro
• Concerto in F major, BWV 1057, 2. Andante
• Concerto in F major, BWV 1057, 3. Allegro Assai
• Brandenburg Concerto No. 3 in G major, BWV 1048, 1. Allegro
• Brandenburg Concerto No. 3 in G major, BWV 1048, 2. Adagio
• Brandenburg Concerto No. 3 in G major, BWV 1048, 3. Allegro
• Concerto in D minor, after BWV 1063, 1. Allegro
• Concerto in D minor, after BWV 1063, 2. Alla Siciliana
• Concerto in D minor, after BWV 1063, 3. Allegro
• Concerto in D major, after BWV 1064, 1. Allegro
• Concerto in D major, after BWV 1064, 2. Adagio
• Concerto in D major, after BWV 1064, 3. Allegro

Overture No. 4 in D major, BMV 1069 (early version without trumpets and timpani)
Concerto for harpsichord and 2 recorders in F major, BWV 1057
Brandenburg Concerto No. 3 in G major, BWV 1048
Concerto for 3 violins in D minor, after BWV 1063
Concerto for 3 violins in D major, after BWV 1064

In many of his works, Bach made use of a hidden symbolism of numbers. The number “three” had a special meaning for Bach and was the basis for the triple concertos, the concertos for three solo instruments, recorded here. On the one hand, the number three had for Bach a Christian connotation; on the other hand, there were also entirely profane reasons. As an essential element of late-baroque texture, the “three” was reflected in the trio sonata, whose structure was the basis of numerous instrumental and vocal pieces. Bach probably composed the Concerto for three harpsichords especially for two of his sons (and pupils), taking the third part himself. In the Third Brandenburg Concerto, the idea of three solo instruments is carried even further in that each of the three string groups – violins, violas, and violoncellos – have three independent parts.

After Les Caracteres de la Danse under the direction of Alfredo Bernardini, Harmony of Nations now presents with Bach Triples its second CD on Raumklang. Like the ensemble’s debut CD, Bach Triples also combines youthful freshness and technical perfection. Harmony of Nations was founded in 2004 by twenty young musicians from fourteen different nations, hence the orchestra’s name. Since then it has collaborated with numerous well-known musical personalities from the early music scene, including Lars Ulrik Mortensen, Ton Koopman, Andrew Manze, Alfredo Bernardini, Konrad Junghänel, and, as on this recording, Laurence Cummings.