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Bach: Concertos brandebourgeois, BWV 1046 - 1051

Maurice André

Classical - Released January 1, 1974 | Warner Classics

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Concertos Brandebourgeois & Suites pour orchestres

Sir Neville Marriner

Classical - Released September 24, 2007 | Warner Classics

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Concertos Brandebourgeois - Concertos pour violon

Bath Festival Chamber Orchestra

Classical - Released October 6, 2008 | Warner Classics

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A Tribute to Bach

Maurice Steger

Classical - Released September 8, 2023 | Berlin Classics

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Bach: Brandenburg Concertos

Concerto Köln

Classical - Released September 19, 2014 | Berlin Classics

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Bach: Brandenburg Concertos – Freiburger Barockorchester

Freiburger Barockorchester

Concertos - Released May 19, 2023 | EuroArts Music International

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Johann Sebastian Bach: Six Sonatas For Violin And Piano

Michelle Makarski

Classical - Released September 27, 2013 | ECM New Series

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Jazz pianist Keith Jarrett has recorded Bach before, on both piano and harpsichord. His interpretations are not jazz versions of Bach but are played straight. In this case you might say relatively straight, for Bach's sonatas for violin and keyboard, BWV 1014-1019, were written for a harpsichord and are generally played that way; somehow the ear is jarred more by the piano here than in Bach's solo keyboard music (which Jarrett has also recorded). Jarrett fans will find the evidence of his characteristic style not in rhythmic inflections toward jazz but in his way of sustaining notes, which is never excessive. As long as you agree to this rather unorthodox way of performing Bach, which 50 years ago would not have been unorthodox, you will enjoy this release. Jarrett, perhaps unsurprisingly for someone raised in the jazz tradition, is a sensitive ensemble player, and his work with violinist Michelle Makarski effectively puts the focus on her while nicely carving out a space for his own style. Too, Bach's pieces are unusual in that they were specifically for violin and harpsichord, not for violin and continuo; they make room for the keyboardist, and Jarrett fills it expressively and lyrically. The usual ECM bonus and minus, namely excellent sound and lack of any booklet material other than bad art photography, are both present, and on balance this is an unorthodox but effective Bach chamber-music release.© TiVo
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Bach: The Brandenburgs

Jacques Loussier

Jazz - Released October 24, 2006 | Telarc

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J.S. Bach: Complete sonatas for obbligato harpsichord and violin

Violaine Cochard

Classical - Released May 15, 2020 | NoMadMusic

Hi-Res Booklet Distinctions Diapason d'or
As soon as they met at the Conservatoire national supérieur de musique de Paris, Stéphanie-Marie Degand and Violaine Cochard developed a musical complicity: J.S. Bach's Six Sonatas for Obbligato Harpsichord and Violin quickly became their preferred repertoire. These works (with the exception of the 6th) are of Corellian inspiration - on the model of the "sonata da chiesa": alternation of four movements slow-fast-slow-fast. Bach mixes the rigour of North German counterpoint with Italian cantabile alternating with fast movements, almost all of which are fugal. A recording that celebrates thirty years of friendship and shared passion for music. © Nomadmusic
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Reinecke: Complete Works for 2 Pianos

Genova and Dimitrov Piano Duo

Classical - Released January 6, 2023 | CPO

Hi-Res Booklet Distinctions Choc de Classica
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Bach: Harpsichord Concertos, BWV 1053 - 1058

Gustav Leonhardt

Classical - Released January 14, 2022 | Warner Classics

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Bach for Two

Romina Lischka

Classical - Released October 1, 2021 | Ramée

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Johann Sebastian Bach left us three sonatas for viola da gamba and harpsichord. He made various transcriptions of the gamba sonata in G major, one of which was of the last movement as a trio sonata for organ. Several movements of the six organ trio sonatas themselves are also reworkings of previously composed material from his cantatas, organ and chamber works. This practice inspired the "Bach for Two" programme by Romina Lischka and Marnix De Cat, in which they have assembled the most beautiful combinations of viola da gamba and organ in both original and arranged versions of Bach’s chorale preludes and trios. Bach is a master of both the head and the heart. With text and melody as his starting point, he created small musical worlds in his chorale preludes for organ and takes the listener on the most varied of inner journeys. To experience musical joy, to find inner peace through every possible emotion, to be comforted in one’s search or sorrow, to be moved to the depths of one’s being - this is the art of Bach, the magician of sound. © Ramée

Bach, JS: Brandenburg Concertos Nos. 1 - 6 (Recorded 1981-82)

Concentus Musicus Wien

Concertos - Released June 11, 2021 | Warner Classics

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Bach, J.S.: Brandenburg Concertos Nos.4 - 6

The English Concert

Classical - Released January 1, 2008 | Deutsche Grammophon (DG)

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Virtuosi

Thüringer Bach Collegium

Classical - Released August 6, 2021 | audite Musikproduktion

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It was a momentous encounter: around 1714, the Weimar court organist Johann Sebastian Bach came across Antonio Vivaldi's opus 3 L'Estro armonico, hot off the press, and soon nothing would be the same for him musically. Bach eagerly appropriated the Venetian Red Priest's modern concerto style. And true to the meaning of the word "concertare", which in Italian means "to unite", but in Latin means "to argue" or "to fight", Bach rapidly entered into a competition, first with his Italian models and then with himself. At the outset, he arranged Vivaldi's violin concertos for his (main) instrument, the organ. But then he transferred Vivaldi's principles into his own instrumental concerto style. The results were his immortal Köthen concertos for one to three solo instruments and orchestra, blending the concerto principle of structural tutti ritornellos and interspersed imaginative solo episodes with Bach's unique polyphonic style - highly virtuosic works in which all participating instruments connect with one another at eye level, and also enter into fierce competition with each other. All this can be heard on the third audite album of the Thüringer Bach Collegium: a good 70 minutes of competition for the best musical arguments, presented with irresistibly sparkling virtuosity. © Audite
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Johann Sebastian Bach : Six Sonatas For Violin And Piano

Michelle Makarski

Classical - Released September 27, 2013 | ECM New Series

Hi-Res Booklet
Jazz pianist Keith Jarrett has recorded Bach before, on both piano and harpsichord. His interpretations are not jazz versions of Bach but are played straight. In this case you might say relatively straight, for Bach's sonatas for violin and keyboard, BWV 1014-1019, were written for a harpsichord and are generally played that way; somehow the ear is jarred more by the piano here than in Bach's solo keyboard music (which Jarrett has also recorded). Jarrett fans will find the evidence of his characteristic style not in rhythmic inflections toward jazz but in his way of sustaining notes, which is never excessive. As long as you agree to this rather unorthodox way of performing Bach, which 50 years ago would not have been unorthodox, you will enjoy this release. Jarrett, perhaps unsurprisingly for someone raised in the jazz tradition, is a sensitive ensemble player, and his work with violinist Michelle Makarski effectively puts the focus on her while nicely carving out a space for his own style. Too, Bach's pieces are unusual in that they were specifically for violin and harpsichord, not for violin and continuo; they make room for the keyboardist, and Jarrett fills it expressively and lyrically. The usual ECM bonus and minus, namely excellent sound and lack of any booklet material other than bad art photography, are both present, and on balance this is an unorthodox but effective Bach chamber-music release. © TiVo
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Bach: Brandenburg Concertos Nos. 1 - 6 - Concertos, BWV 1044 & 1059

Amsterdam Baroque Orchestra

Classical - Released January 1, 1996 | Warner Classics International

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Bach, J.S.: Brandenburg Concertos Nos.4, 5 & 6; Overture No.4

Musica Antiqua Köln

Classical - Released January 1, 1987 | Archiv Produktion

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Bach: Suite & Concertos

Jörg Halubek

Classical - Released March 18, 2022 | Berlin Classics

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It’s dizzying to think of everything Bach created for violin; be that solo (Six Sonatas & Partitas), in duo (sonatas with Harpsichord) or in concert (two concertos for violin, and another for two violins). In some fifteen masterworks, Johann Sebastian Bach expressed the quintessence of his powerful, invigorating and redeeming art form. Under the direction of Jörg Halubek, this unusual, condensed programme by Il Gusto Barocco keeps the work alive.Interspersed between the six parts of the Cello Suite No.3 (with Jonathan Pesek) are four concertos: two for a single solo instrument, and two for two solo instruments. Jörg Halubek immerses himself in the Concerto BWV 1054 (an adaptation of the Violin Concerto No.2), and is then joined by Alexander Gergelyfi in Concerto in C minor BWV 1060. Next, the wonderful Leila Schayegh offers mesmorising versions of Concerto in A minor BWV 1041 and Concerto for two violins BWV 1043.Halubek and Gergelyfi provide incredible performances, both in terms of their originality and their rhythmic rigour. Few musicians have ever proposed an instrumental exchange as playful and vivacious as the one put forward here in Largo ovvero Adagio from BWV 1060. It’s simply joyful. Each musician within Il Gusto Barocco brings enthusiasm to the finale (Allegro). The hypnotic polyphonies, rich and full textures, and sharp rhythms are a whirlwind of emotions, as are the final bars of every concerto included in this recording. Leila Schayegh is without a doubt the star of the album. With Il Gusto Barocco, she emanates an irresitable energy from the moment she arrives on BWV 1041. Free, bright and never static: it’s a joy to behold. A recording that exudes balance and serenity. Highly recommended. © Pierre-Yves Lascar/Qobuz
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Rencontre. Duos pour clarinettes de Mozart, Haydn, Yost, Rousseau & CPE Bach

Michel Portal

Classical - Released November 6, 2020 | Warner Classics