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A student of the last student of Ysaÿe, American violinist Hilary Hahn has played Bach's solo violin music since she was nine, and inaugurated her recording career seven years later with a recording of half the cycle of six, in 1997. That recording rightly won acclaim with its flawless technique and Apollonian lines straight out of the best of the French violin school. Uniquely, she has returned to complete the set 21 years later, and the results are marvelous. It's sometimes hard to pin down the ways in which Hahn's style has changed, but it has to do with a kind of inner relaxation, with a willingness to let the meter vary a bit and pick it up again in the longer line. The flawless tone is still there, but it's not so much an end in itself. It's not an accident that some of the graphics picture Hahn smiling, nor that her quite relevant notes to the album detail the long creative process that went into making it. Sample anywhere, but you could try the very beginning, the first movement of the Sonata for solo violin No. 1 in G minor, BWV 1001, where Hahn takes just a bit of time, draws you in, and lets the rest of the movement flow from there. Decca's engineers do excellent work in a Bard College auditorium that one might not have picked as a venue for this. A superb release from one of the preeminent violinists of our time.© TiVo

One may well wonder why (or whether) a non-keyboard version of Bach's Goldberg Variations, BWV 988, arguably at the apex of the entire tradition of keyboard music, is at all needed. However, Baroque violinist Rachel Podger and Brecon Baroque member Chad Kelly, who "reimagined" the work (arranged is not a strong enough word), offer several justifications for their deployment of the Variations across various kinds of chamber music here. "Despite what many respected and respectful commentators have propagated," Kelly says, "it is not a sacrosanct work of pure, absolute and abstract art." Kelly seeks to use the varied settings to clarify Bach's counterpoint, to examine the musical influences that were in the air when Bach wrote the work, and to "be idiomatic to the historical instruments used in its performance and to the individual styles and genres referenced in the work." All this involves rewriting certain passages. That is a lot to ask, but generally, Kelly and Podger make it work. There are just 18 tracks, with several variations often combined into a little suite. This tends to deemphasize the tripartite structure of the variations, with a canon every third variation. Listeners can make up their own mind about that, but most will be impressed enough by the smooth Baroque winds in the slower variations, especially the crucial Adagio Variation 26, that they will be won over by this unorthodox effort. This release made classical best-seller charts in the autumn of 2023.© James Manheim /TiVo

One of Antonio Vivaldi’s undisputed masterpieces—alongside the famous Quattro Stagioni—L’Estro armonico, a set of 12 concertos for stringed instruments, caused a real stir when it was first published in Amsterdam in 1711. Vivaldi’s creation fascinated many composers, beginning with Johann Sebastian Bach who decided to transcribe several of these concertos for keyboard during his time in Weimar. He explored Italian musical inclinations in great detail, and his personal work often reflects the perfect assimilation of Italian-style virtuosity and the melodic art typical of the musicians from the peninsula (Corelli, Vivaldi, Marcello, Torelli, etc.).In this magnificent double album, Rinaldo Alessandrini confronts Vivaldi’s original orchestras and Bach’s arrangements. There’s Concerto No. 3 from L’Estro armonico (for solo violin), followed by the version for keyboard (BWV 978)—in this case a solo harpsichord—and Concerto No. 10 from Vivaldi’s Opus 3, followed by its famous elaboration for four keyboards (BWV 1065). Of course, it’s fascinating to compare the originals with Bach’s versions; the German composer will often enrich the polyphonic texture or change the melodic contours. Vivaldi, on the other hand, displays melodic genius and great instrumental imagination, as well as an innate ability to create an incredible ambience. It’s nothing short of enchanting: no wonder his work left the whole of Europe stunned.The orchestral versions of Rinaldo Alessandrini and his Concerto italiano can only be described as prodigious. They display such finesse and flexibility (and a beautiful instrumental reach too!). Their textures are silky, their rhythm poised and perfectly formed (right from Concerto No.1, which opens the collection). Bach’s versions take a backseat here, despite the outstanding performances given by Rinaldo Alessandrini on harpsichord and Lorenzo Ghielmi on the organ, which are a real treat for the ears. The star of the show is Vivaldi. With this release, Rinaldo Alessandrini and his Concerto Italiano provide one of the most beautiful and formidably joyful interpretations of L’Estro armonico. It’s simply unmissable! © Pierre-Yves Lascar/Qobuz

It took András Schiff over 40 years to acquire his first clavichord, but the long wait was worth it. His love for the harpsichord's ‘little sister’ began in the late 1960s, when Schiff met the English pianist, organist, composer and conductor Georg Malcolm: ‘He showed me how to play Bach's polyphony with my fingers alone, without using the sustain pedal’.Unlike the harpsichord or piano, a note (string) played on the clavichord resonates for as long as the key is held down. As a result, playing this instrument is unique in that you can influence the sound even after a key has been struck, allowing for techniques such as vibrato.Historically, the clavichord was widely used as a practice instrument and a composition aid, and it was often only played in front of small groups. This doesn’t detract from its importance and significance, however, as evidenced by its frequent use by composers such as Bach.András Schiff takes to this intimate, personal instrument to offer recordings which— together with those of Friedrich Gulda or Gustav Leonhardt—constitute one of the rare complete recordings of Bach's keyboard music for clavichord. He performs the Inventions, Sinfonias, Chromatic Fantasia and Fugue BWV 903, among others, with dedication and precision, and he’s not afraid to put his own mark on the music. Schiff tends to be less known for his historical performances, but he astonishes here with an impressive recording in which he remains true to himself and to Bach. © Lena Germann/Qobuz

After recording J.S. Bach's Brandenburg Concertos to near perfection with the English Concert in 1982, it might seem redundant for Trevor Pinnock to try his hand at them again in this 2007 set with the European Brandenburg Ensemble. Allowing for certain variables of interpretation and execution between the two versions, which should be expected at a remove of 25 years, one can still expect Pinnock to turn in elegant period readings that don't diverge too dramatically from his earlier recordings on Archiv. On this exquisite set, released by Avie -- a label that lets its artists take creative risks that many major labels won't -- Pinnock explores the Brandenburgs with considerable freedom and inventiveness, particularly in adjusting the size of his ensemble according to acoustical needs, and in his employment of musicians from several different countries and performing backgrounds. To the trained ear, these concertos have a slightly darker coloration, due to the tuning at A415, and some experts may detect where the high- or low-tone violones are used in substitution for the standard cello or double bass. Yet to most listeners, these performances won't sound experimental or daring, since the changes are wholly appropriate to the Baroque era, when instrumentation and other practices varied in almost every performance. Yet in terms of expression, this set may seem a little richer, warmer, and a bit more relaxed than its predecessor, and the ensemble's presence is almost palpable in the close-up, highly detailed reproduction. Anyone who already owns the earlier recordings may feel this attempt is "gilding the lily," but Pinnock's second traversal of the Brandenburgs is definitely worth hearing, and is highly recommended to others who need a terrific version, by any standard.© TiVo

The vigour and richness of the Concerto grossi, Op. 6, which Handel based on Corelli’s model, seems to have dictated this full-bodied and highly structured performance by the Accademia Bizantina (directed by Ottavio Dantone). Their vision isn’t some long, quiet road; rather, the listener is taken on a journey, discovering varied landscapes as they travel an often arid and meandering path.The Italian baroque conductor and harpsichordist has been delighting musicophiles during his time as head of the Accademia Bizantina, founded in Ravenna, for over thirty years. Alongside a number of others, he’s contributed to many musical discoveries and to a standard of interpretation which today’s music lovers have become accustomed to. Always looking to uncover new scores, Ottavio Dantone maintains contact with European libraries through his appointed musicologist, Bernardo Ticci, whom he claims is ‘a real truffle hunter’.His in-depth knowledge of Handel’s operas led him to examine the Concerto grossi, Op. 6, in great detail. He says that these ‘extraordinary pages are dear to my heart, and I have approached them with all the meticulousness I’m known for’. This diligence is perceptible throughout the twelve Concerti grossi, which display a skilful blend of Nordic earnestness and Mediterranean joy. © François Hudry/Qobuz

Maurice Ravel's orchestral works are universally regarded as models of the art of orchestration, and this 4-CD box set from Deutsche Grammophon presents them complete, in stupendous live performances by Lionel Bringuier and the Tonhalle-Orchester Zürich. These recordings, made between 2014 and 2015, capture every aspect of Ravel's genius, from the colorful transcriptions of his piano pieces to works composed specifically for orchestra. While the ever-popular Boléro is a textbook example of how to use tone colors for a cumulative effect, such lavish pieces as the ballets Daphnis et Chloé and La Valse are sumptuous in their lush textures and vibrant sonorities. Bringuier is an enthusiastic advocate for Ravel's music, and his expertise is apparent in his meticulous interpretations and in the precision of the musicians, who play with rhythmic accuracy and polished execution. Featured soloists in these performances are the virtuoso pianist Yuja Wang, who is exciting in the Piano Concerto in G major and the Piano Concerto for the Left Hand in D major, and violinist Ray Chen, who delivers a compelling reading of Tzigane. In the remaining selections, the Tonhalle shines with brilliant luster, and Deutsche Grammophon's reproduction is first-rate, with its depth, detail, and dynamic range approaching audiophile quality.© TiVo

Reissued for the first time in its entirety and magnificently restored by Christophe Hénault at his Art et Son studio in Annecy from the original soundtracks, this first complete Bach work signed by Marie-Claire Alain is of stunning beauty. Recorded between 1959 and 1967 on various historical instruments in Denmark, Sweden and Germany, this recording, described by the performer herself as "the most instinctive" of the three she recorded, benefits from remarkable sound recordings that perfectly showcase the instruments chosen by the great French organist. Fighting from her youth against the mathematical rigidity with which Bach's music was too often treated, she strove instead to release its vital energy, leaving aside an overly strong dialectic and countering the overly emotional. This great artist was well aware that organ music, and Bach's in particular, had to be modelled on each instrument used, adapting its playing, sound and technique to each occasion. « For each concert I give », she said, « I am obliged to rework each work according to the instrument I have at my disposal.»Disappeared on February 27, 2013 at the age of eighty-six, Marie-Claire Alain had put an end to her career in 2010 after having given more than 2,500 concerts and recorded 250 discs that still retain their great historical value. (Qobuz / François Hudry)Record label note : This very first re-release on CD of Marie-Claire Alain’s first complete recording of Bach’s organ works has benefited from meticulous cleaning up of the original tapes. The very color of analog sound is preserved in all its purity. On a few tracks, it proved impossible to remove some minor noise and extraneous sounds that were captured during the recording sessions and which can still be heard. However, these defects are fortunately very few in number and do not detract in any way from the superb audio quality of these newly restored recordings of some exceptional performances. We will dwell on the poetic and perfectly balanced tones of the Varde organ, probably Marie-Claire Alain's favourite. Marie-Claire Alain plays the following organs (specified in each track) : — Denmark : Marcussen Organ, St.Jacobs Church, Varde (CDs 1, 2, 4, 12, 13, 14, 15) – Frobenius Organ, St.Nicholas Church, Middelfart (CDs 5, 6) – Marcussen Organ, St. Paul Church, Aarhus (CDs 6, 7, 8) – Marcussen Organ, St. Mary’s Church, Sønderborg (CDs 8, 9) – Marcussen Organ, Christians Church, Sønderborg (CDs 8, 9) – Marcussen Organ, Holmens Church, Copenhagen (CDs 9, 10, 11) – Marcussen Organ, St. Nicholas Church, Aabenraa (CD 13)  — Sweden : Marcussen Organ, St. Mary Church, Helsingborg (CDs 2, 3, 5) — Germany : Marcussen Organ, St. Peter's Cathedral (Dom), Schleswig (CD 11)