For this recording 20-bit technology was used for high definition sound. Concertos Nos. 1, 3 & 6 recorded November 19, 20 & 24, 1993; Concertos Nos. 2, 4 & 5 recorded April 14–16, 1994; Glenn Gould Studio, Toronto, Canada
Instrument Makers:
Violin/Violine/Violon : Santo Serafin, c. 1730 Carlo Testore, 1690 Douglas C. Cox, 1986 David Rubio, 1990 Peter Boardman, 1989 Guadagnini school, c. 1790 Nicolo Amati, 1670 Anon. Mirecourt, c. 1750
Viola/Alto: Anon. Regensburg, c. 1770–1780 Nicolas Bartl, c. 1760 Otto Erdesz, 1962 Joseph Hill, 1760
Violoncello/Violoncelle: Leopold Widhalm, 18th century Paris school, c. 1750 Matteo Goffriller, 1696
Viola da gamba/Viole de gambe: J.C. Hoffmann, c. 1730 on generous loan from the collection of Catherine Meints & James Caldwell Barak Norman, 1703
Violone in G/Violone en sol: Reinhard Ossenbrunner, 1983
Contrabass/Kontrabaß/Contrebasse: P. Meneghesso, 1892
Recorder/Blockflöte/Flûte à bec: Frederick Morgan, 1974, after T. Stansby (BWV 1047, tracks 1-05 to 1-07) Frederick Morgan, 1990, after T. Stansby (BWV 1049, tracks 2-01 to 2-03) Antoon de Vijlder, 1981, after Rottenburgh
Transverse Flute/Traversflöte/Flûte traversière: Marten Root, 1993, after anon. German, first half 18th century
Oboe/Hautbois: H. A. Vas Dias, 1983, after T. Stansby Sr., c. 1700 Sand Dalton, 1992, after J. H. Eichentopf, c. 1730 Oliver Cottet, 1979, after T. Stansby, c. 1720
Bassoon/Fagott/Basson: Peter de Koningh, 1980, after Wijine, c. 1720
Trumpet/Trompete/Trompette: David Edwards, 1989, after Simon Beale, 1667
Horn/Cor: John Webb, after Leichnamschneider, c. 1720 Lowell Greer, after Starck, c. 1740