When Johann Sebastian Bach (1685-1750) in 1723 arrived in Leipzig to take on the post of Kantor of the Thomaskirche he already composed an immense amount of mostly instrumental music during his previous assignments. Of this music he readily made use in his new job, arranging concerto movements as sinfonias for cantatas and even for arias. Present-day musicians may feel free to use and reuse Bach’s music as he did himself, the result will always be to testify the immense genius that Bach was. On this new recording Erik Bosgraaf and musicologist Thiemo Wind have given their creativity free reign in compiling “new” instrumental concertos based on instrumental ánd vocal works by Bach, obviously a labor of love. Erik Bosgraaf is one of the most remarkable recorder players of today. Equally at home in early as well as contemporary music he extends the limits of his instrument, achieving an extreme range of expression and unheard-of effects. His substantial discography for Brilliant Classics met with universal high critical acclaim: “Erik Bosgraaf is an extraordinary recorder player, and this is as fine a recording of music by one of the giants of the Baroque period as there is… The approach, in fact, is simply perfect, and one’s delight does not slacken for a minute of the 75-minute recital.’ Fanfare (Suites and Concertos, 95248), ‘Delightful masterpieces in one place, in technically pristine performances in the Brüggen/Dutch style, on copies of period instruments. Bosgraaf plays brilliantly, conducts his excellent 13-member ensemble, and clearly relishes the sparkling interplay with celebrated colleagues.’ Fanfare (Double Concertos, 95249), ‘Bosgraaf is utterly superb, with a clear tone and dexterity that has to be heard to be believed… This is precisely the sort of recording that one needs to have in one’s collection, as it will clearly knock your socks off.’ Fanfare (Fantazias, 95249).