Invigorating, virtuosic playing of this kind deserves to win friends, and my recommendation is that, whether or not you already possess one or more recordings of the Goldbergs, you make a firm commitment to add this one to your library. And how Anderszewski can dance – at least at the keyboard – in a movement such as the Prelude of the Third Suite, urged into life through subtle dynamics, voicings, articulation and judicious ornamentation. None of those principles would be quite so valuable if the music-making wasn’t charismatic and refreshing. This reappraisal of the St Matthew (the earlier version from 1999 does appear studied and self-conscious in comparison, for all its estimable virtues) takes us on a journey which will continually enthral, move and surprise. A few chorales are heard over and over. The E minor Prelude and Fugue is the greatest tour de force here, and arguably Bach’s most ambitious single creation on the organ. On the other end of the spectrum, the peroration offers a luminous solace – and what collective beauty Bach Collegium Japan bring to the heart-stopping ‘Mein Jesu, gute Nacht’ – to the redemption that will follow. Curiously, perhaps, it is the baroque cellist, Anner Bylsma on RCA who often provides close parallels with Fournier. Monica Huggett’s musicianly readings are very rewarding and are warmly to be recommended. Our buying guide shall provide you with detailed product reviews on the top-rate 371 bach choraless trending in the market these days. Donald Francis Tovey observes:Counterpoint, the art defined by Sir Fr e deric kGor eOusele yasthat of ’combining melodies’. From the outset here, Gardiner’s meticulous grasp of the detail and architecture in tandem is almost terrifyingly auspicious. The massive Bachakademie edition (of which this is Volume 115) is not a project noticeably concerned with period instruments, yet here they have persuaded Trevor Pinnock, founder of one of the world’s first and finest baroque orchestras, the English Concert, to return to the recording studio as a solo harpsichordist for the first time in many years. The presence of a theorbo helps flavour the two concerto slow movements, the Triple Concerto especially where the impression of ‘leaning together’ is very pronounced. David Watkin’s profound musicianship, though, is more than enough to accelerate this recording of Bach’s Cello Suites to the top of the tiny league of ‘definitive’ recordings, beyond the infinitesimal care of Ditta Rohmann (Hungaroton, 5/14, 11/14), the meticulous intellectualism of Anner Bylsma (Sony, 7/81, 1/93) or even the refined warmth of the benchmark Fournier performances (Archiv, 3/89): all encapsulate the vital elements of these works but none succeeds completely in covering them all. Here is the exception. Rachel Brown’s flawless flute is an eloquent counterpart to Carolyn Sampson’s enchanting gentleness in the aria “Seele, deine Spezereien”, and Halls controls its pizzicato bass-line with benevolent finesse. A similar sequence follows Part 1, and Part 2 is prefaced by another organ chorale. That recording was something of a yardstick at a time when the pioneering compact disc coincided with the second birth of the ‘early music movement’ in tsunami mode: Gardiner let rip, in short, with a towering performance of blazing choruses and oratorian solos, firmly planting his feet in the DG space that Karl Richter had vacated with his early death four years earlier. Gardiner’s admiration for this work is palpable in every bar, perhaps over-curated for some; and if so the softer-hues of Cohen may be preferred. For Beethoven, for Mozart in his maturity and for Chopin, it was the same. The free-flowing Fantasia has an angular beauty and a dark-hued mood that comes from Bach’s liking for crunchy dissonance, while the Fugue is a tour de force that builds to a firmament-shaking climax. Rather, Solomon ensures that the phrases are neither choppy nor fragmented. I like the way that Ólafsson alternates original Bach with the transcriptions, so that Stradal’s take on the middle movement of Bach’s Fourth Organ Sonata (given here with generous use of sustaining pedal to create a poetic ambience) is followed by a refreshingly airborne account of the D major Prelude from Book 1 of The Well-Tempered Clavier, while its Fugue melds clarity with nobility. If Brüggen’s first reading with its purity of abstraction comes close in its controversially instrument-heavy recording and, more recently, Jonathan Cohen’s elegant and generous account asks further questions – albeit in the difficult acoustic of Tetbury Church – we have a further vision here with Gardiner’s extraordinary, single-minded, quasi-mathematical proof. 19's previously light and dancing measures are humorously slow and precise. Gramophone’s Choice: Rachel Podger (English, Channel Classics) My Choice: Viktoria Mullova (Russian, Onyx) I actually agree with the Gramophone choice of … He brings out the left hand’s largely stepwise motion to a nicety – sometimes reassuring, sometimes questioning. He follows Tovey in finding No 3 to be “one of Bach’s most beautiful pieces of quiet chromatic slow music”, after which the extraordinary cadences of No 4 (actually the final completed movement) are necessarily pedalled and clipped, even chirpy: the envoi of a true Kapellmeister. However, the Sarabande’s simple eloquence plus the crisply pointed Bourrée and Gigue more than compensate. While it’s easy enough for the keyboard to stand alone, string instruments have a harder time of it. They are always a living feature of the line, arising from within, not stuck on from without. This is not a Brandenburg set that sets out to score points, and all that is needed from us is to sit back and enjoy its relaxed, celebratory spirit. Levit’s musical personality is as integrated and mature as his technique. ‘When in trouble, play Bach’ – wise advice from Edwin Fischer to a pupil. Only Pinnock himself remains from that first line-up, and while the players then were a high-class team (Simon Standage, Lisa Beznosiuk and Michael Laird among them), the players of the European Brandenburg Ensemble include some of the finest of today’s Baroque chamber players, and there is a relaxed expertise about their performances which seems to allow them to communicate directly and without technical or ideological hindrance. Slow movements are far from inexpressive, but again refreshingly direct: he never wallows (a good example is the introductory movement of the E major Sonata). The result is a potent artistic synergy between the musicians. 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. At times Perahia’s imagination in repeats arguably betokens a fraction more wisdom. ‘Practise some Bach for me,’ Chopin used to say to his departing pupils as they went through the door. Gardiner asks for a lot of quiet singing from them and they execute it with superbly controlled beauty. Featuring two violinists with a simple string-and-harpsichord accompaniment, it is particularly beloved for its rhapsodic slow movement (shamelessly plundered by myriad film directors for moments of high emotion), in which the two soloists entwine confidingly, sounding more like singers than instrumentalists. In Anderszewski’s hands the First, Third and Fifth very much occupy their own worlds in terms of mood. This is not to say that their Brandenburgs have no distinguishing features – just that, where they do, they spring from eminent good sense, as, for instance, in No 3 when the two central link chords come attached to a harpsichord flourish which has arisen directly from the first movement’s final chord; or the abrupt ending of No 2; or any number of places where an inner part is brought out with the help of a generously drawn legato so that you are left wondering why you never noticed it before. Fine recorded sound and strongly commended on virtually all counts. Suffice to say that Isserlis’s Bach is a major entrant into an already highly distinguished field, and a disc many will want to return to again and again. Each of the chorales of J.S. Great instrument aside, this is largely down to the judicious alchemy of Suzuki’s perception of how architecture and local colour can collide to mesmerising effect. David Vickers (August 2010). As a necessary corollary‚ her performances could hardly be more stylish or impeccable‚ more vital or refined; and‚ as a crowning touch‚ Hyperion’s sound is superb. The contrapuntal flow of No 7 – initially grand, then reflective and finally free-wheeling – is realised to perfection, and what a virtuoso play of the elements he recreates in No 15! 50 of the finest JS Bach recordings available, complete with the original Gramophone reviews and an exclusive playlist. Three Wedding Chorales autograph Bach's autograph of the wedding chorales BWV 250–252, written between 1734 and 1738. For Isserlis the Suites suggest a meditative cycle on the life of Christ, rather like Biber’s Mystery Sonatas. 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. The carefully balanced Sony recordings keep the sound frame tight and lively. 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