Complete recordings of great works such as Bach’s sonatas, his “Well-Tempered Clavier,” or Chopin’s “24 Preludes” occupy a unique place within the history of musical recording. It’s in their entirety that they are most unique and powerful, whereas in the purity of their repertoire, individual pieces are generally regarded as being largely heterogeneous. These timeless compositions transcend their authors and are given new life with each interpretation, and such is the case with Bach’s “Goldberg Variations.” Published in 1741, as the fourth and last part of his Clavier-Übung, the “Goldberg Variations” still remain, almost 300 years later, amongst the baroque master’s most important works, not only for the history of musical composition and recording in general (Glenn Gould, Trevor Pinnock, Rosalyn Tureck, and many others come to mind), but also for Víkingur Ólafsson in particular. “I’ve been dreaming of recording this work for 25 years,” says the Icelandic pianist, thus confirming that these studies are more a life’s work than a whim.Beginning with a melody that’s simple in appearance, the work is spread over a total of 30 variations, becoming a masterpiece of complexity. Determined, at surface level, by a rigid formal framework, the material itself nevertheless demands a “sort of interpretive improvisation”. Ólafsson recognises this paradox and makes it his own not by interpreting the different variations with technical precision and a strict loyalty to the metronome, but rather by following cyclical impulses and organic interpretation. At the same time, he evolves with the work and transcends it, whether in the creativity of the fugues or the complexity of the different canons, which influence one another, rely on one another, and, finally, like a parabola, return to the first melody and the beginning of all that had transpired previously -  like the ebb and flow of the Icelandic ocean, whose waves we know will always return to shore, but whose calm or strength we can never be sure of. © Lena Germann/Qobuz

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

The Philadelphia Orchestra has been named "Gramophone's Orchestra of the Year 2020".

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

Bach Generations delivers, as promised, works by several members of the Bach family, ranging from Johann Sebastian's older cousin Johann Christoph Bach through J.S. Bach himself to sons Carl Philipp Emanuel and Johann Christoph Friedrich Bach. None of the works J.S. Bach is thought to have actually written for the oboe (these exist as adaptations by J.S. Bach himself for keyboard, but the originals have been reconstructed) is included. Those might have worked better than the transcriptions the Albrecht Mayer does play; the spiky Keyboard Concerto No. 2 of Johann Christoph Friedrich Bach doesn't rest so easily on the oboe's keys. However, in the slower numbers, Mayer has a distinctively luxurious tone. Sample the adaptation of the tenor aria "Sanfte soll mein Todeskummer" from the Easter Oratorio, BWV 249. The familiar Badinerie from the Orchestral Suite No. 2 in B minor, BWV 1067, is just as good on the oboe as it is on the flute. Mayer plays an oboe, an oboe d'amore, and an English horn for variety, and he is ably backed by the Berliner Barocksolisten. Another draw, especially for physical CD buyers, is the attractive drawing of the entire Bach family tree in the booklet. For oboe buffs, much of this album is likely to set a new standard, and it has shown considerable general appeal, making classical best-seller charts in the summer of 2023.© James Manheim /TiVo

To record the Golberg Variations, the absolute pinnacle of western works on harpsichord and the apotheosis of the Baroque era, is the ultimate dream for many musicians. Lang Lang, who admits to have studied the fourth section of the Clavierübung by the Cantor of Leipzig for over twenty years, is no exception. This collection offers two interpretations of the same work. Firstly, a studio version, captured beautifully at the Berlin Jesus-Christus Kirche in March 2020 under the supervision of Christopher Alder, in which Lang Lang displays more measured tempos, particularly in the the initial aria and the first variation. This approach begins to animate itself more in the next section before the first variation in G minor which is slow, sluggish-sounding and unrelenting, taking on a stubborn and repetitive saraband rhythm - a remarkable conclusion to the first section. The outburst of the French Ouverture of Variation 16 is nothing short of spectacular. The following variations pass quickly before the second variation in G minor (Var. 21, Conone alla Settima.), with its very depressive phrasing, an imaginary Tombeau which momentarily instills an impressive gravity. Lang Lang nevertheless remains indifferent to the intrinsic structure of the Goldberg Variations, organised into ten successive groups of three variations with each group finishing with an increasingly complex canon (from the Var. 3’s Canone all’Unisono to Var.27’s Canone all Nona). For the Chinese pianist, his expressive heart seems to concentrate on the three minor key variations, and he doesn’t hesitate to project a Baroque expressionism that finishes the Golbergs with a touch of pathos and romanticism alongside a rounded and silky sound.The energy of the Leipzig public, on the 5 of March 2020, adds a welcome characteristic. During the concert, recorded by Philip Krause, who also accompanied Alder during his studio recording, Lang Lang has fun with the polyphony, beginning with the Aria. Here, he dances and injects subtle variations into the accents, thus opening up a wider and more diverse field of expression (Var. 1, Var. 7). Mischievous (Variation 23 has 2 harpsichords!), Lang Lang lets his imagination run rampant and the emotion that ensues is truly striking (Var. 21, with its obsessive delays). A certain weight is lifted, even in the way the harpsichord sounds, which bears witness to how the Chinese pianist’s sound has changed over the last fifteen years. © Pierre-Yves Lascar/Qobuz

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

A pioneer of historically informed baroque music back in the 1970s, Trevor Pinnock had fallen somewhat off the recording radar in recent years. His recordings of Vivaldi’s Four Seasons and Bach’s Brandenburg Concertos and Orchestral Suites alongside violinist Simon Standage caused a real sensation, remaining a reference recording for years. The role of this great musician as an instrumentalist had almost been forgotten. It was as an organist and harpsichordist that he made his debut in the late 1960s, playing in the first baroque music ensembles in London. He then released numerous solo recordings devoted to Jean-Philippe Rameau and, of course, Johann Sebastian Bach (in honour of whom he recorded highly acclaimed versions of a whole series of works, including the entire Concertos for Harpsichord, Six Partitas and the renowned Goldberg Variations, a composition that has inspired so many versions that people have stopped keeping track).Pinnock has only recently returned to the stage, recording the First Book of The Well-Tempered Clavier for Deutsche Grammophon in 2020, which was well-received internationally (and very well-received by Qobuz). Now, Trevor Pinnock is back with his anticipated Second Book, recorded in Canterbury in September 2021. On it, he plays on a replica of a Hemsch harpsichord which was made by American harpischord builder Davis Way in 1982. This double recording is the result of a lifetime of practice and reflection: Trevor Pinnock first encountered The Well-Tempered Clavier around the age of twelve. But this monumental masterpiece seemed insurmountable, so it was only in later years that he finally decided to record it.This Second Book largely fulfils what the First Book promised, demonstrating the same solid understanding of counterpoint and the unique combination of both sensory and intellectual proficiency. Plus, it maintains a youthful wonder that never seeks to be scholastic. The recording also benefits from the subtle timbres of the chosen instrument which has been tuned to an unequal temperament which sounds great in all tones and maintains variation in the colour of the keys. © François Hudry/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

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

This 2023 release inaugurates an ongoing series from baritone Samuel Hasselhorn and pianist Ammiel Bushakevitz, performing Schubert works two centuries on from their date of composition, and slated to culminate in 2028, the bicentennial of the composer's death. The project begins with one of the most famous Schubert song cycles of all, Die schöne Müllerin, D. 795, depicting the crackup and despair of a young wanderer who falls in love with a beautiful miller's daughter. Hasselhorn has plenty of recent competition in this cycle; listeners can sample the 2017 recording by Christian Gerhaher and Gerold Huber for another approach, but this one promises well for the ongoing project. Die schöne Müllerin is a work in which Schubert took vast strides toward the emancipation of the piano in the lied, and Bushakevitz leans into this aspect, with details that illuminate and often foreshadow themes developing in the text. Hasselhorn has a warm baritone with an appealing conversational tone that turns chilly and quiet toward the cycle's downer conclusion. Another draw is Harmonia Mundi's sound from the b-sharp studio in Berlin; the engineers put Bushakevitz just a bit forward in the mix, not so much as to sap energy from Hasselhorn's singing, but enough to highlight his perceptive performance. This release bodes well indeed for the duo's future work.© James Manheim /TiVo

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

This is said to be the last recording by British cellist David Watkin, who is moving to conducting due to a muscle problem. It should deeply satisfy the player's British fan base and go beyond that, for it's a fine recording of the much-played Bach Suites for solo cello. The unusual historical instruments will get attention: a 1660 instrument by Francesco Ruggieri, and, for the Suite No. 6 in D major for solo cello, BWV 1012, an extremely rare five-string Amati cello from 1600. The set is worth the time and money for the utter strangeness (and Watkin's confidence in strange surroundings) of this performance, which has the flavor of some arcane yet deeply human wisdom imparted from the distant past. The rest of the suites are also more of the 17th century than of the 18th: Watkin's playing is rhetorical, as if the cello was embodying utterances in some hidden language. It is seemingly spontaneous yet well controlled, and it is intimate in a way that big concert-hall performance cannot be. There are some unusual tempos in the set, all backed up by reasonable even if not definitive evidence, but the overall conception is the most important novelty. The Resonus label backs Watkin up with engineering in a small chapel that fits the slightly antique tone. If this is Watkin's swan song on the cello, it's a fine one. © TiVo

Many concepts have been applied to the playing of Bach's Goldberg Variations, BWV 988, on the piano rather than the harpsichord for which it was originally composed. There are readings that attempt to restrict the piano's dynamic ambit to keep it close to that of a harpsichord, those that go full-on Romantic, and monumental takes that recognize the sheer unprecedented scope of the work. Fewer, though, are those that recognize the original story of the work's origin, recounted by Bach's early biographer Forkel: a Russian ambassador in Saxony, named Kaiserling, had trouble sleeping and prevailed upon a young pianist named Goldberg to serenade him to the land of dreams with a harpsichord, asking Bach to compose something for these sessions. The tale has been widely disbelieved, but there is no reason to suppose that quiet, intimate Goldberg Variations are any less valid than an epic one. That's what's here from German pianist Lars Vogt, who manages the neat trick of delivering a truly pianistic interpretation without turning it into a Romantic one. He does so by keeping the volume low throughout and by reining in the temptation to make the big minor-key variations at the middle and end into anguished dissonant cries. Instead they are moderate in tempo and quietly dreamy, to delightful effect, and one might indeed imagine the insomniac Russian count drifting off to them. In general Vogt's treatment is straightforward, with nothing brought so far to the fore that it would interfere with the considerable contrapuntal detail that emerges naturally from the individual variations. With excellent engineering from Ondine, working in the Deutschlandfunk Chamber Music Studio in Cologne, this is a highly recommended tonic to grandiose Goldberg Variations played on whatever instruments.© TiVo