Artist: Shunske Sato
Album: Bach: Violin Concertos
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 88,2 kHz
Duration: 52:17
Total Tracks: 12
Total Size: 1010 MB

Tracklist:

1-01. Shunske Sato – Violin Concerto No. 1 in A Minor, BWV 1041 – I. Allegro moderato (03:52)
1-02. Shunske Sato – Violin Concerto No. 1 in A Minor, BWV 1041 – II. Andante (05:08)
1-03. Shunske Sato – Violin Concerto No. 1 in A Minor, BWV 1041 – III. Allegro assai (03:30)
1-04. Shunske Sato – Violin Concerto No. 2 in E Major, BWV 1042 – I. Allegro (08:00)
1-05. Shunske Sato – Violin Concerto No. 2 in E Major, BWV 1042 – II. Adagio (05:35)
1-06. Shunske Sato – Violin Concerto No. 2 in E Major, BWV 1042 – III. Allegro assai (02:39)
1-07. Shunske Sato – Concerto for 2 Violins in D Minor, BWV 1043 – I. Vivace (03:40)
1-08. Shunske Sato – Concerto for 2 Violins in D Minor, BWV 1043 – II. Largo ma non tanto (05:51)
1-09. Shunske Sato – Concerto for 2 Violins in D Minor, BWV 1043 – III. Allegro (04:29)
1-10. Shunske Sato – Violin Concerto No. 5 in G Minor, BWV 1056R – I. Allegro (Arr. Forkel) (03:31)
1-11. Shunske Sato – Violin Concerto No. 5 in G Minor, BWV 1056R – II. Largo (Arr. Forkel) (02:32)
1-12. Shunske Sato – Violin Concerto No. 5 in G Minor, BWV 1056R – III. Presto (Arr. Forkel) (03:24)

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Not just restricted to the baroque repertoire, Japanese violinist and violist Shunsuke Sato (also written as Shunske Sato) does not hesitate to play some of the most contemporary works, many of which he wrote for himself. This means that his own way of playing Bach benefits from both teachings – the art of playing baroque on instruments and with ancient bows, and the art of playing in a contemporary style. This is, no doubt, what makes his reading of Bach so wonderful as he searches for pure beauty, making the instrument sing and linking the phrases with such coherence. Accompanying him, we find the wonderful Swiss ensemble il pomo d’oro (all lowercase) who embrace these musicologically indisputable teachings with a tone that sometimes even sounds romantic. In truth, Bach’s music often flirts with more tender accentuation, for example in the slow movement of Concerto for two violins, which Sato plays here with Zefira Valova, a violinist from the ensemble. It should be noted that the ensemble also seeks to rediscover the most intimate sounds that Bach could have conceived in these concertos, some of which were undoubtedly written to be performed at Café Zimmermann: one musician per desk! The resulting sounds are hugely different from other recordings which are sometimes performed by orchestras that are far too large for this work.