And then there’s the keyboard poet within the orchestra, who even when playing mezzoforte or piano manages to project a full tone (witness his presence in the tutti afterBrandenburg No 5’s cadenza). International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to, JS Bach: the 2020 Editor's Choice recordings, Recording Bach's Three-Part Inventions at home. Perahia’s ornamentation could fill the review on its own, for he’s happy to take risks, yet they never sound like risks, so firmly are they sewn into the musical cloth. Indeed, Gardiner rarely delivers a comfortable ride and yet what brilliant visions emerge, most strikingly in the central work, the five-part Jesu meine Freude, riding – literally – the storm of the love of the flesh, Satan, the old dragon and death.
The opening Aria is crystalline, lively in tone and with a distinctly singing bass-line. Along the way, in a deftly balanced presentation of strikingly contrasting essays, Suzuki offers beautifully turned, reflective and buoyant readings of sui generis ‘concert’ works. Even the most apparently unassuming numbers, such as the Second Bourrée of the First Suite or the Passepied II of the Fifth, gain a sense of intrigue as he re examines them from every angle, again bringing multifarious shadings to the music. Each section of the Roman Ordinary is envisaged as continuous music, so there are no pregnant pauses between solo and choral movements. Violinists have no need to envy the Cello Suites, since Bach left them an equivalent solo work: the Sonatas and Partitas. Only the most gifted interpreters manage both. And it is this 'autumnal repose' that adds such a deeply imaginative dimension to Gould's unimpeded clarity and pin-point definition. Her desolate, almost whispered ‘Die Trauernacht’ in ‘Es ist vollbracht!’ also stabs to the heart. Harnoncourt’s recording, taken from live performances in the Musikverein last Christmas, succeeds in this regard with uncanny freshness and generosity. Interpretative decisions are intelligently applied; and Hewitt is at her best in the slow movements, all of which are played with the finest sensibility. As a matter of tactics disregarding the printed order of the works, this second disc opens in the most effective way with a joyous performance of the ever-invigorating E major Preludio. I’m not sure I’ve ever heard the reconstructed concertos sound so convincing (especially the D minor), the trio sonatas go at a thrilling lick that surely no organ could keep up with and the sinfonias simply gleam. He has an excellent sense of the longer line and the harmonic pull beneath Bach’s wonderfully melodic writing. Beethoven’s Tempest Sonata is given without first- or last-movement repeats and is taken, in those outer movements, at such a pace that there are occasional dangers that the music’s character is whisked out of existence (the finale is, after all, marked allegretto).
David Vickers (May 2011), Monteverdi Choir, English Baroque Soloists / John Eliot Gardiner. Bach took the Italian trio sonata and “organ-ised” it, assigning the two melodic lines to one manual apiece and the bass to the pedal. The task of identifying the proper Stephen Layton’s outstanding new St John is about as state-of-the-art a Bach Passion recording as you’ll hear. She takes the Giga at a restrained pace that allows of all kinds of tiny rhythmic nuances. The deeper delight of it all is that you can encounter subtle new aspects in the familiar works – the E major Concerto intimate, even a little withdrawn, the slow movement of the A minor given a lightly pulsing, march-like momentum – and real revelations in the lesser-known ones. This is particularly evident in faster movements such as the fierce and brilliant fugal Gigue that concludes the Third Suite, or, in the E minor Fifth Suite, the extended fugal Prelude and the outer sections of its Passepied I. Superb. I cannot think that there’s a single recording (and by now I must have heard at least 30) that doesn’t identify some minor detail unnoticed by others. Or rather, let us have both. Her tendency to push the tempo contributes to the fireworks in the outer movements: an admirable riposte to the tyranny of the metronome! Her E minor Fugue keeps the motoric momentum in the foreground without losing melodic direction, while her intriguing interplay of voices in the F minor Prelude retains textural distinctiveness and cogency throughout. In addition they show awareness of performance practice and what may be appropriate in each instance, with decoration added to ‘second times’ discreetly and with an air of spontaneity, and never to excess. To embark on a second recording of the St Matthew Passion 20 or so years after an admired reading with many of the same musicians from Bach Collegium Japan might, one would imagine, have been governed by a specific set of motivations. There is nothing laboured or studied about his performances of these demanding works; his faultless finger technique allows him not only to step with confidence through a virtuoso minefield such as the Gigue of the Fifth Suite (his are the tightest trills I have heard), but perhaps, more important, to make a gently flowing legato the starting-point of his interpretation. The Fugue from the above-mentioned D minor is a case in point: the glistening parallel motion over the pedal at 3'20", often a bloated gesture, enticingly holds back to set up the rich-textured gravitas that follows. Prepare to be uplifted. Johann Sebastian Bach: Chorales: Weltlich Ehr’ und zeitlich Gut, BWV 426 . Layton’s reality is about cultivating the focus of each sentiment with supreme corporate executancy. Indeed, clarity of texture is one of this recording’s most glorious virtues, offering a view of the contrapuntal wonders of the music that has not always been available. Out and out purists, poor devils, may not be able to adjust to modern pitch, modern instrument and, in the case of Suites Nos 5 and 6, the wrong instrument, but if that is so they are deserving more of compassion than censure. There is no doubt, however, that both elements pay off here. There is, if you care to rationalise, a Russian depth of sound and eloquence of phrasing, tempered by Germanic intellectual grasp. Consequently, you could learn to make a well working harmonisation af a melody, by adding three notes to the soprano voice, and with a couple … History has not judged kindly the revisiting of major Bach choral works by eminent conductors. Sviatoslav Richter plays with incredible control while keeping every note alive, but some might find his manner too austere. But the performances are so joyous and fresh that, in their straightforward but deeply musical way, they are the most invigorating newcomers to the Brandenburg fold since Musica Antiqua Köln’s provocative recording of the mid-1980s. That impression is deepened by this disc: here is an artist who palpably adores and reveres JSB in equal measure, and makes sense of a programme that could have sounded bitty – 35 tracks, with the biggest work being the youthful Aria variata (alla maniera italiana). Graphic Violence ; Graphic Sexual Content ; texts. Ewa Pobłocka’s name first came to my attention back in 1980, when she tied for fifth place in that year’s Warsaw International Chopin Competition, and Deutsche Grammophon issued a selection of her performances from that event on a bygone LP. Its character, furthermore, is admirably captured by the effectively resonant recorded sound, a shade too close for some ears, perhaps, but not for me. Ah yes, ‘intellectual’ pianists, I hear you mutter. Both singers also perform with great effectiveness in the arias, where they are joined by Joanne Lunn (her ‘Ich folge dir gleichfalls’ is a joyous and sure-footed gem) and Clare Wilkinson, whose distinctive alto, straightforward in expression and tellingly connected to her speaking voice, lends fragility to ‘Von den Stricken’. At once we can recognize Podger's splendid rhythmic and tonal vitality (not merely Bach's marked terraced dynamics but pulsatingly alive gradations within phrases), her extremely subtle accentuations and harmonic awareness (note her change of colour at the move from E to C sharp major in bar 33), are all within total technical assurances. The Kyrie has never felt more naturally contrasting in both that respect and in the etched placement (some might find it a touch too articulated) of the fugal entries; it’s a ‘melos’ – an unbroken evolution of line – which becomes especially evident from the tautly conceived ‘Et in unum’ and the most luscious ‘Et incarnatus’, each underpinned by skilful dynamic contouring. Perahia’s pacing is unerring throughout, and even if you tend to favour this movement slower, that one faster, the sense of narrative that he brings to these suites as a whole is utterly persuasive.
Or do you perform them more or less as other good performers have but just try to do it better? A chorale prelude includes the melody of the chorale, with added counterpoint. The often protracted D minor Sinfonia retains its melodic poignancy at Fellner’s headlong pace, although his tapered phrasing of the F minor Sinfonia’s theme grows predictable with each repetition. You know the Mass in B Minor is often considered the greatest piece of music ever written, right? We’re always aware of the re entry of a fugue subject, for instance, as it peeks through the texture in different registers or reappears stood on its head, yet it’s never exaggerated as is sometimes the tendency with less imaginative pianists. All in all, this counts as yet another exceptional Bach-Perahia release. Its text is a popular subject in the Lutheran tradition: “Has God forsaken me?
On the contrary, the increasingly impressive Nicholas Mulroy’s alert, lightly coloured Evangelist strikes a balance in which declamation and lyricism are equally ardent and equally touching, while Matthew Brook is a supple and authoritative Christus. On the present recording, Shibe applies the musical and interpretative qualities that characterise its predecessors – energy, reflection, eclecticism, integration and emotional candour – to remind us that Bach might have been singular but he contained multitudes. On ‘softLOUD’ (A/18), he invites us to an electroacoustic house party for strange bedfellows Anon, James MacMillan, Steve Reich, Julia Wolfe and David Lang. Curiously, perhaps, it is the baroque cellist, Anner Bylsma on RCA who often provides close parallels with Fournier. Butt’s flowing tempo for “Agnus Dei” prevents Margot Oitzinger from conveying the breathtaking timelessness some might hanker after but catharsis is tangible in “Benedictus” (performed movingly by Hobbs and flautist Katy Bircher). Three warm-up chorales designed to facilitate a quick but thorough ensemble warm-up. Perhaps no pianist since Charles Rosen has so persuasively demonstrated that this contrapuntal encyclopedia is to be heard as well as read. The theory is that now we’re longer lived, we’re less inclined to settle for familiar domesticity when we could be off sailing the seven seas. Hewitt doesn’t slavishly follow a formula, though. If on the piano, however, which isn’t a second-best, I incline to those exponents who are not apologetic about their instrument and at the same time show awareness, relish even, of what the best harpsichordists have achieved, from Gustav Leonhardt to Andreas Staier (I mention two exceptional players who have made complete sets). Indeed, conviction shows on every track of the set. High-wire artist Philippe Petit is a fitting cover image to this important landmark in highly recommended, high-stakes performances. The majestic Sarabande of No 1 in B flat (disc 1, tr 4) gets a minimum of graces in its repeats – barely noticeable indeed. I enthusiastically endorsed a live archival 1984 recording of Chopin’s E minor Concerto in these pages last April. chorale, though other sources were regularly consulted. Her C major Prelude unassumingly unfolds at a moderate pace, resonating less like a piano than a murmuring organ, while the C major Fugue sounds like a madrigal featuring four distinct yet unified voices with prodigious breath control. But to describe any of these figures as merely ‘intellectual’ would be to miss out the huge humanity of their playing. The fashion these days is to return to Bach’s own transcriptions for keyboard as a repository for some speculative reworkings, and this approach inspires Alina Ibragimova’s varied, committed and poised readings of five solo concertos. Magnificent, Supreme! Presented as a grand work with a single-voice chorus, this reading of the Magnificat is as vitally conceived and multi-dimensional as I can recall. Butt’s interpretation owes firm allegiance to the “OVPP” creed that will not please everyone (even if detractors have not yet produced a single scrap of proof to refute it), but the Dunedin Consort and Players are never perfunctory or merely dogmatic. Yet, when it came to the quality of his work, he produced more jewels than Bvlgari. Fournier's rubato is held tightly in rein and when he does apply it it is in the interests of enlivening aspects of Bach's formal writing. His approach to the Goldbergs is tremendously spirited and energetic but also disciplined. Choral versions of all these chorales may be found on YouTube by searching for the BWV number. Admirers will of course have heard Argerich in the Second Partita, on the wing, so to speak, in a superlative live performance dating from 1978-79 (and with the Bouree from the Second English Suite for an encore) on EMI. Bach’s cantatas (nearly 200 sacred and a good handful of secular ones survive) are all the more remarkable when you think that this was real bread-and-butter stuff, produced for the church services every week. Fermer les suggestions Recherche Recherche. Canon triplex a 6: first printed in 1747, it appears on both versions of the portrait Haussmann made of Bach. 32. It’s as if we exhale with him. Is offering the English Suites on the piano and the Partitas on the harpsichord a commendably broad-church approach or just haphazard? 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