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Bach: Violin Concertos
Leonidas Kavakos
Classical - Released March 29, 2024 | Sony Classical
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Johann Sebastian Bach: The Complete Works for Keyboard, Vol. 8: Köthen, 1717-1723 - For Maria Barbara
Benjamin Alard
Classical - Released May 12, 2023 | harmonia mundi
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Booklet
The new delivery of the complete works for keyboard of Johann Sebastian Bach (Volume 8), brought to us by harmonia mundi, and featuring Benjamin Alard on the harpsichord, clavichord, and organ, is centred around the composer’s work while he was with his first wife, Maria Barbara. Featuring 3 CDs, or 85 tracks in this digital version, it brings together a series of compositions for educational purposes. On the one hand the Inventions and Sinfonias, on which all apprentice pianists and harpsichordists have tried their hand, and, on the other hand, the six French Suites probably composed to perfect the musical skills of their eldest son, Wilhelm Friedemann.They are “French” only in virtue of the apocryphal title which was given to them after Bach’s death. We find no trace of this mentioned on the original manuscripts. Bach's music also escapes strict classification, even if the influence of Couperin can be quite clearly perceived in this vast corpus, demonstrated by Benjamin Alard’s clever introduction of some Preludes by the French composer as an epigraph to the French Suites of Bach. Above all, these pieces are reminiscent of his own genius, with various influences intended to create a world belonging to the Cantor.Faithful to his organological research, here Benjamin Alard uses a pedal clavichord like that built by the French organ maker, Emile Jobin. The colour of this discreet instrument is simply bewitching. A sort of fruitiness is exuded, the full depth and subtlety of which can be savoured, notably in the Pedal-Exercitium, BWV 598 and in the transcription for keyboard of the famous Chaconne - Second Partita, initially composed for the violin. We also like the golden tones of the Couchet harpsichord from 1645, "restored" (modified later) by Blanchet in around 1720. We find the entirety of Benjamin Alard’s skill in this new recording; his science which illuminates complicated polyphony, his clean energy, and his curiosity for fascinating worlds of sound. © François Hudry/Qobuz
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Bach's Virtuosos
Midori Seiler
Classical - Released April 14, 2023 | Berlin Classics
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Cantata : Yet Can I Hear... (Handel, Bach, Vivaldi...)
Bejun Mehta
Classical - Released March 16, 2018 | PentaTone
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Distinctions
Diapason d'or -
5 Sterne Fono Forum Klassik
For the benefit of any Qobuz readers who might be offended that the Bach cantata Ich habe genug is sung here by a counter-tenor in the soprano register (rather than the normal bass), we want to point out two things: first, in the baroque era, music would be rewritten at the drop of a hat to fit the musicians who were available at a given time; and, secondly, this particular transposition was made by the Cantor himself! And what's more, he actually thoroughly revised two works... The short cantata Schlage doch, gewünschte Stunde was for a long time attributed to Bach before credit was finally given to its author Melchior Hoffmann: but it is testament to the work's tremendous quality that the mix-up was possible: its originality certainly gives the listener pause for thought. For one thing, the aria contains a glockenspiel section! Counter-tenor Bejun Mehta continues his exploration of the world of the baroque cantata with the superb Pianti, sospiri e dimandar mercede by Vivaldi, which brims over with invention and harmonic and melodic surprises. Handel's cantatas, on the other hand, were more directly written for amateur audiences, and therefore somewhat easier musically: whereas Bach never had to worry about selling his scores, Handel was very much preoccupied by sales! Berlin's Akademie für alte Musik provides a fervent accompaniment, and without a conductor, as they know this music like the back of their hands. © SM/Qobuz
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Air: The Bach Album
Anne Akiko Meyers
Classical - Released February 14, 2012 | eOne Music
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This release by California violinist Anne Akiko Meyers looks both backward and forward. Meyers' playing is a throwback to a style of Bach playing that was common a couple of generations ago but isn't much heard anymore: flowery, heavy on the vibrato, a bit sentimental, with moments of slight tempo rubato in both the violin and the orchestral accompaniment of the English Chamber Orchestra (which was always the go-to group for this style) under Steven Mercurio. The novelty factor here involves the magic of overdubbing, which has been commonplace in pop since Patti Page's hits of the 1940s but is still a rarity in classical music: Meyers uses a pair of Stradivarius violins in the Concerto for two violins, strings, and continuo in D minor, BWV 1043, playing both herself. Whether or not you are fully on board with these approaches, you're likely to agree that Meyers executes them both quite well. Her pitch is precise in the Violin Concerto in A minor, BWV 1041, and she pulls on the heartstrings in the arrangements of the so-called Air on a G string from the Orchestral Suite No. 3 in D major, BWV 1068, and the Bach/Gounod Ave Marie. But the real attraction is the Double Concerto, where Meyers makes the most of her two violins, the "Molitor" of 1697 (the violin I part) and the "Royal Spanish" of 1730. The latter has a slightly rougher tone that Meyers deploys very effectively in its lower register. Though it's not everyone's cup of tea, this recording has met with well-deserved commercial success.
© TiVo
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50 Bach Treasures by Naïve
Anne Gastinel, Karol Teutsch, Hopkinson Smith, Rinaldo Alessandrini
Classical - Released September 1, 2017 | naïve classique
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J.S. Bach: Intégrale des Partitas pour clavecin
Jean-Luc Ho
Classical - Released December 1, 2015 | NoMadMusic
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Pachelbel: Canon in D Major / Bach: Air on the G String, Violin Concerto No. 1 in A Minor / Albinoni: Adagio / Walter Rinaldi: Piano Concertos & Orchestral Works / Vivaldi: The Four Seasons / Classical Piano Works
Walter Rinaldi
Classical - Released June 26, 2021 | iMD-Rinaldi & Rinaldi Produzioni
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Bach, Rachmaninov
Guilhem Fabre
Classical - Released January 20, 2023 | 1001 Notes
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Bach, J.S.: Concertos & Orchestral Suites
The English Concert
Classical - Released January 1, 2011 | Archiv Produktion
Booklet
In the early phase of the movement for authentic period practice, Trevor Pinnock and the English Concert were practically household names -- in early music households, anyway -- because of their critically acclaimed performances of the music of Johann Sebastian Bach and other Baroque composers. These exciting recordings of the Brandenburg Concertos, the orchestral suites, the harpsichord concertos, the violin concertos, and concertos for various instruments were made between 1979 and 1984, so they are a mix of ADD and DDD recordings. Yet because of Archiv's superb reproduction in both analog and digital technologies, these performances on original instruments are clean and crisp all the way through, with remarkable fidelity. What passes for historically informed style is open to change over the years, and many later performances of these works have demonstrated new ideas and approaches that are much freer in spirit. Indeed, Pinnock's interpretations and the group's technical execution can seem a bit straightlaced and fussy, when heard decades after their releases. But these were groundbreaking performances in their time, and everyone who followed early music knew that Pinnock would deliver meticulous and scintillating versions; as a result, these extraordinary recordings helped to shift public opinion in favor of authentic period style. This Archiv box set contains eight CDs, combining two previously released sets, with the CDs reissued with the same program format.© TiVo
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Bach : Partitas Nos. 2 & 6, Toccata BWV 911
David Fray
Classical - Released November 30, 2012 | Warner Classics
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J.S. Bach: Partitas Nos. 1, 5 & 6
Nils Anders Mortensen
Classical - Released April 21, 2023 | Lawo Classics
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Bach - Suites françaises
Pierre Gallon
Classical - Released October 21, 2022 | L'Encelade
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Bach: Ouvertures for Orchestra
Rinaldo Alessandrini, Concerto Italiano
Symphonic Music - Released November 8, 2019 | naïve classique
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Johann Sebastian Bach’s four Overtures (or Orchestral Suites) remain somewhat of a mystery as the exact date and circumstances of their composition is still unknown. Just like his Brandenburg Concertos, they are intended for a variable number of musicians and all four of them consist of a dance suite preceded by a three-part opening movement, in the middle of which is a brilliantly fast and skilful fugal section. The music in this double-disc album by Rinaldo Alessandrini is twice as exciting as it also explores the Overtures composed by two cousins of Johann Sebastian, namely Johann Bernhard (1676-1749) and Johann Ludwig (1677-1731). He held their music in such high esteem that he even played it during the Leipzig Collegia Musica’s concert in Gottfried Zimmermann’s café, where a weekly concert took place with either himself or Telemann conducting, although it was later destroyed during air-raids. Indeed, their music was remarkable and it certainly shouldn’t be overshadowed in light of the success of their younger cousin. When JS Bach composed these Overtures, it would seem that he was influenced by French music given that a didactic work entitled Musical Composition according to the French method was published in Germany in 1682 outlining an overture that precedes a series of dance suites. This particular style of composition would later become symbolic of the “alla francese” style that was soon adopted by musicians all across Europe. A most welcome album where music and didactics go hand-in-hand. © François Hudry/Qobuz
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Albinoni / J.S.Bach / Handel / Pachelbel etc.: Adagio / Fugue in G minor / Organ Concerto No.4 / Canon etc.
Stuttgarter Kammerorchester
Classical - Released January 1, 1978 | Decca Music Group Ltd.
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Partitas por clavier 1, 3 & 6
Piotr Anderszewski
Classical - Released October 7, 2002 | Warner Classics
There are musicians who devote their lives to Bach, and who can blame them? The emotional heights, the intellectual depths, lofty spirituality, and diabolical virtuosity of Bach's music could easily make it enough for any musician. While Polish pianist Piotr Anderszewski can play other music and play it with the same combination of brilliance and profundity as he does Bach -- witness his magisterial recording of Beethoven's "Diabelli Variations" -- it's easy to assume that Bach would be enough for him. In this superlative recording of Bach's Partitas Nos. 1, 3, and 6, BWV 825, 827, and 830, Anderszewski delivers as great a Bach keyboard recording as has been made in the past 20 years. Listen to the ferocious intensity of his Gigue from the Partita in E minor, the cool serenity of his Sarabande from his Partita in B flat, or the bitter "Burlesca" from the Partita in A minor: Anderszewski is in complete control of every element of the music without even slightly inhibiting his expressivity. And in movements like the staggering, despairing Sarabande from Partita in E minor, the crystalline lucidity of the Fantasia from his Partita in A minor, or the ecstatically lyrical "Praeludium" from his Partita in B flat, Anderszewski seems to have disappeared inside the music, not interpreting it or even playing it, but simply being it. Every listener who loves great Bach playing should hear this disc.© TiVo
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J.S. Bach: Miscellaneous Pieces for Harpsichord
Pieter-Jan Belder
Classical - Released September 28, 2022 | Brilliant Classics
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Over a career spanning more than 30 years, the Dutch harpsichordist and conductor Pieter-Jan Belder has become renowned as a Bach interpreter with his surveys in concert and on record of the keyboard and orchestral masterpieces such as The Well-Tempered Clavier, the Brandenburg Concertos and no fewer than three recordings of the Goldberg Variations. On this album, recorded in 2020 and 2021 on a modern Titus Crijnen copy of a Ruckers model, Pieter-Jan Belder turns to the overlooked corners of Bach’s early writing for the harpsichord. These include standalone fugues, fantasias and suites based on themes by contemporary composers such as Reincken and Albinoni. Nevertheless, there is no sense of routine or technical exercise about them. The pieces here are almost all extrovert, playing to the strengths of the young Bach as a performer as well as composer, and already demonstrating that confidence which would go on to mark his mature compositions. An appreciation of French flair is discernible in the F minor Suite, BWV 823 and elsewhere, but the dominant influence is the keyboard writing of Girolamo Frescobaldi, whose toccatas and canzonas were studied by Bach from an early age. The better-known pieces here include the sober and songful Aria variata, BWV 989 with its courtly French theme, and the E-flat Prelude, Fugue and Allegro originally written for lute, but which also finds a happy home on the harpsichord. The most famous but also most uncharacteristic piece is the mysterious Capriccio on the departure of a beloved brother which appears to be a work of Bach’s late teenage years, though no definite corroborative proof of its commission or purpose has yet come to light. Rather, it seems unique in Bach’s output as a humorous parody of styles and emotions. © Brilliant Classics
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Lorraine Hunt Lieberson: A Tribute
Lorraine Hunt Lieberson
Classical - Released August 9, 2011 | harmonia mundi
Booklet
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