He makes points without labouring them, which is not to deny either the brilliance or the character of his playing. Richter’s captivating direction and intensity, complete with an almost hypnotic abandon, is a touch more measured in Suzuki’s hands but no less effectively communicated. And has the Prelude, Fugue and Allegro ever sounded so contemporary in its nostalgic sweetness and, in the final movement, sheer unabashed joy? Variation 7 is crisp and tripping, 16 opens to firmly brushed arpeggios, and I loved Perahia’s pianistic gambolling in the snakes and ladders of Variation 23. One of the first things to strike the listener in this new recording of Bach's Goldberg Variations is the fine quality of Bruce Kennedy's copy of an early eighteenth-century instrument by the Berlin craftsman, Michael Mietke. Yes, there are fine-tipped details and prominent emphases (sample the wildly accentuated bass-line in Variation 8), but the way themes are traced and followed through suggests a performance where the shape of a phrase is dictated mostly by its place in the larger scheme of things. Indeed, the playing of the Academy of St Martin in the Fields under Murray Perahia is even sprightlier than on a rival EMI recording of the same repertoire where Sir Neville Marriner conducts and Andrei Gavrilov plays the keyboard part. No danger here of the final chorus ending in a morose slough of despond. The 48 are just as gripping to listen to as they are to play, earning their place among the best Bach works. Applied with more plain-spoken authority, such emphatic strength of wrist and will rather chews up the Tenth’s preludial bars and the expansive, chorale-fantasia conclusion of the Fifth, though with equal force one senses that, in this case, they had to be so. 32. And while Edwin Fischer is consistently spontaneous, he is rather less elegant than Perahia – and his version of the A major Concerto sounds to me as if it’s ‘Busonified’ (or something very similar). Wednesday, January 6, 2021, 50 of the finest JS Bach recordings available, complete with the original Gramophone reviews and an exclusive playlist. These are not entirely modern-instrument performances. Expertly stylish recordings of the six concertos Bach presented in neat copy to the Margrave of Brandenburg in March 1721 are two-a-penny but the Dunedin Consort offer more substantial style and bona fide expertise than most. He stressed the dance basis of the movements; and his vitality, rhythmic flexibility (to clarify the shape of phrases) and tonal nuance, and the vigour and variety of his bowing, still leap from the discs to impress the listener. The quality of soloists in any recording of the St Matthew will significantly define its sustainable fortunes. Required fields are marked *. Indeed, Herreweghe recently went as far as to say that ‘a groundbreaking reading is not necessary’. This recording is not merely music therapy, however, but a genuine musical experience. His versions of the six Bach Partitas show a comparable address and maturity. 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. About half of the revolving team of 20 have participated in high-profile recordings before but the Dunedin players forge their own identity and capture what Butt praises as ‘carefree, joyous and spontaneous works’. The pair of horns and three oboes in the opening of Concerto No 1 offer unforced conversational sparkle and the French-style fourth movement is an eloquent courtly dance (particularly the poignant trio for oboes and bassoon and compassionate strings in the Polacca). 50 of the finest JS Bach recordings available, complete with the original Gramophone reviews and an exclusive playlist. EMBED (for wordpress.com hosted blogs and archive.org item tags) Want more? The nine-part strings in the dazzling finale of Concerto No 3 (which Butt takes at quite a lick) suggest the extravagant flair of Vivaldi’s L’estro armonico. This might seem a time-honoured ambition and yet, for all the admirable qualities of, say, the RIAS Kammerchor under René Jacobs or the more recent reading from Philippe Herreweghe and Collegium Vocale Gent, neither of these brings as ambitious a kaleidoscopic challenge to the listener in identifying renewed character and meaning as Gardiner aspires to. James Jolly (October 1990), Emma Kirkby sop Katharina Arfken ob Freiburg Baroque Orchestra / Gottfried von der Goltz vn. You notice this from the start. Sample what he does with the Fifth Suite’s bustling Bourrée, glistening and playful. James Jolly (January 2014), Vienna Concentus Musicus/ Nikolaus Harnoncourt; Leonhardt Consort / Gustav Leonhardt, In the 19 years since its inception, this cycle of all of Bach 's sacred cantatas in 45 volumes and on 83 discs has enriched the catalogue incalculably. Receive a weekly collection of news, features and reviews, Gramophone Each chorale is written to provide idiomatic opportunities to focus on intonation, balance, and expression, respectively. And while Glenn Gould achieves formidable levels of concentration (especially in the second of his two commercial recordings for Sony), his gargantuan personality – utterly absorbing though it is – does occasionally intrude. 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. Indeed, it is the directness of his interpretations that is so telling; there is almost none of that slightly coy rubato that some other flautists use to disguise the need to breathe. Watkin plays the first five suites on a cello by Francesco Ruggieri – a luthier contemporary of Bach’s whose instruments are famed for their warmth of tone – and the sixth on a rare five-string cello by the Amati brothers of the same period. This is not, by the way, a polite way of saying that the performance lacks expressive variety or that performing standards are modest. My comments about the C major Fugue likewise apply to the F sharp minor Fugue’s vocally informed trajectory. And together she and this superb orchestra show exemplary contrapuntal clarity while also outlining the music’s architecture through glinting dynamic changes or compelling long-range crescendos and diminuendos. Gardiner challenges orthodoxy in how these a cappella holy grails are fundamentally signposted and he does so, almost always, with persuasive passion and genuine zeal. Caroline Gill (June 2015). Bach composed around 30 and reharmonised around 400 melodies, so we have quite a large material to search through. Somewhat perversely, I’m reminded of that formidable doyenne of the harpsichord Wanda Landowska saying to cellist Pablo Casals: ‘You play Bach your way and I’ll play Bach his way.’ In reality, like Shibe, they both played Bach both ways. Some might find the basic pulse of the First and Fifth Sarabandes perhaps too slow. While Pires revels in its echoing harmonies, Anderszewski draws you daringly into his own world, as Bach’s initially grandiose sonorities become more and more withdrawn. Following the overwhelming popularity of our lists of the 50 greatest Mozart recordings and 50 greatest Beethoven recordings, we are proud to present 50 of the finest recordings of JS Bach's music. Admirers will of course have heard Argerich in the Second Partita, on the wing, so to speak, in a superlative live performance dating from 1978-79 (and with the Bouree from the Second English Suite for an encore) on EMI. Lindsay Kemp (March 2013), Orchestra of the Age of Enlightenment & Polyphony / Stephen Layton. If that performance now seems uncontained in a bristling vigour of varying durability, the intervening 30 years have transformed Gardiner’s B minor with his consistently impressive Monteverdi Choir and English Baroque Soloists from something less culturally reactive and adrenalin-driven towards a more contained, pictorial and inhabited ideal, though no less energised. Bach developed these movements to make thrilling conclusions, just as he had made the opening of each work something imposing and unexpected. Although an excellent one-voice-per-part version is nothing new, Butt’s insightful direction and scholarship, integrated with the Dunedin’s extremely accomplished instrumental playing and consort singing, amount to an enthralling and revelatory collective interpretation of the Mass in B minor – perhaps the most probing since Andrew Parrott’s explosive 1985 version (Virgin, 8/86). An early player of them, said to have been accomplished, described them as ‘making me seem like a beginner each time’. There is no doubt, however, that both elements pay off here. Combining old and new isn’t unusual because in the early years of period performing practices, the likes of Thurston Dart, Raymond Leppard and George Malcolm married a harpsichord to modern strings and wind. But such fine nuances only emerge in the dutiful process of comparison, rather than in the wholly absorbing experience of Levit traversing another musical peak. The Aria's return, too, is overwhelming in its profound sense of solace and resolution. The opening growls with the same prescient foreboding and authority of the very best accounts of the past 70 years, whether Karl Richter’s first or Harnoncourt’s final reading. Finally, let me praise his cantabile playing (a singing style), which Bach extolled to his students as a constant aim. How do you embark on a new addition to the vast pile of Brandenburg Concerto recordings? Listen to the best of Bach on Apple Music and Spotify and scroll down to explore our selection of the 10 best Bach works. But like the rarest of that breed – a Perahia, say – his playing already has a far-seeing quality that raises him to the status of the thinking virtuoso. But from the outset here, the music feels embedded in a broader and freer set of expressive ambitions than ever. Except of course we’re talking about their own musical knowledge and experience. The motets have appeared as pillars of the Monteverdi Choir’s existence over five decades, punctuated by a notable recording for Erato in the early 1980s and most recently within selected programmes during the millennial Cantata Pilgrimage. Save 209786314-johan-sebastian-bach-371-harmonized-chorales-and-69-chorale-melodies-with-figured-bass-141207114346-conversion-gate02-2.pdf For Later Chorale Harmonization Uploaded by Each of the chorales of J.S. Stephen Plaistow (October 2014). Perahia never strikes a brittle note and yet his control and projection of rhythm are impeccable. That was possibly his most original contribution to the suite of his time: there’s a Praeludium in No 1, a three-part Sinfonia in No 2, a French Overture in No 4 (the D major), a Praeambulum in No 5 and a grand Toccata and Fugue in No 6 (E minor). Maybe the finale of Sonata No 2 seems rather frantic and the wonderful Adagio ma non tanto of No 3 a touch lumpy, but there really is not much else to criticise. Levit’s achievement is to miss nothing of their scope and variety as compositions while conveying what it is that makes each one a unity, not an anthology, demanding to be performed complete. But such quibbles are inconsequential in face of this pianist’s heartfelt musicality, enhanced by attractively full-bodied sound and a beautifully regulated Shigeru Kawai SK EX concert grand at her disposal. Which brings me to Igor Levit – and not a moment too soon, you may think. Discover more of our composer best works. But it’s the gripping drama and involvement in the large-scale works that remind one of Karl Richter in his most durable organ-playing legacy on Archiv from the 1960s (funnily enough, until recently, only available in Japan). A superb pair of discs. The new recording for the Monteverdi Choir’s own label is a live concert recording, with all the soloists except the Evangelist and Christus drawn from the ranks of the chorus. On the present recording, Shibe applies the musical and interpretative qualities that characterise its predecessors – energy, reflection, eclecticism, integration and emotional candour – to remind us that Bach might have been singular but he contained multitudes. Jed Distler (September 2009). Today’s makers of the baroque flute are producing highly refined instruments, exemplified here by the Rod Cameron copy of a Denner, which has a strong, even tone and good balance of register, allowing highly accomplished performers like Ashley Solomon complete technical freedom. If ‘sad’ seems a weak word, it is not meant to be; it is just that the actors of this piece are not tearing at their hair but letting the weight of the events they are witnessing sink deep into their beings as individuals. Rather, Solomon ensures that the phrases are neither choppy nor fragmented. But if you haven’t come across him before I can report that he’s of Russian-German descent (shades of Sviatoslav Richter) and is 27 this year. But the performances are so joyous and fresh that, in their straightforward but deeply musical way, they are the most invigorating newcomers to the Brandenburg fold since Musica Antiqua Köln’s provocative recording of the mid-1980s. If there was anything Gardiner learnt from the monumental traversal of the cantatas during that great millennium year, it was to take longer-breathed interpretative positions with Bach and to know when to let the singers, especially, and the music do the work. With some artists, you have a sense that their personality comes across most strongly in the main structural movements of the French Suites – the opening allemandes, pivotal sarabandes and closing gigues. To start with, there’s the sense of sharing the sheer physical thrill of Bach’s keyboard-writing. Gramophone is part of The faster movements are perhaps the most successful, full of buoyancy and energy without seeming rushed or pushed. Recent research shows that, though divorce rates are falling in the UK, there’s an upward trend among the over-50s. Both recordings include the two Sonatas for Violin and Continuo, BWV1021 and 1023 (for which Podger and Pinnock are joined by a discreet and sympathetic Jonathan Manson on viola da gamba), but Manze and Egarr’s inclusion of the dubious BWV1024 is not echoed here; instead we get two of the three versions of BWV1019 whole, with the glorious extra movement required to make up the remaining version added at the end. EMBED. Gerald Finley sings with open-hearted zeal and, despite occasional flatness, teams up touchingly with Schäfer in “Herr, dein Mitleid”. Bach puts the theme through myriad permutations of mood and speed, and when the theme returns unadorned at the end, the sense of a momentous journey is complete. Alongside the concerto, the other genre in vogue in Bach’s time was the orchestral suite (or “overture” as he called it). Lionel Salter (March 1989). Simply glorious. Over the years, we’ve come to expect outstanding performances from the Freiburg Baroque Orchestra and this issue certainly does not disappoint. A similar sequence follows Part 1, and Part 2 is prefaced by another organ chorale. From the opening bars of the First Partita’s leisurely Praeludium, it is clear that this is a master harpsichordist, a player whose seemingly effortless command of his instrument allows him to express his innate musicianship without any need for overstatement or gratuitous point-making. Menu de navigation ouvert. Not only do the individual movements feel spot-on in articulation and affekt but the free-flowing pacing from one section to the next makes it easy for the listener to be pulled along. Above all, Fournier's Bach playing is crowned with an eloquence, a lyricism and a grasp both of the formal and stylistic content of the music which will not easily be matched. Chercher les emplois correspondant à Best bach choral works ou embaucher sur le plus grand marché de freelance au monde avec plus de 18 millions d'emplois. Qty. Binding the themes and harnessing the material into an integrated whole for a single sitting (not necessarily inimical to Bach’s planning, despite being spread over the six Feast Days of Christmas, 1734-35) takes more than just a few well judged tempi and a generic Yuletide esprit. The C sharp major Prelude’s arching phrases remind me of Myra Hess’s similarly unpressured vintage recording, and her fluidly lyrical approach to the C sharp minor Fugue highlights the music’s harmonic poignancy yet appreciably minimises its austere reputation. From the profound contemplative quality of the G major Sarabande or the C minor Allemande to the zest of the C major Bourree, the breadth and grandeur of the D minor Suite's Prelude and the gravity of its Sarabande, the lightness of the E flat Allemande and Bourrees or the C minor Gavotte, the raptness of the C minor Sarabande, and the lucidity of thought behind the elaborate D major Allemande, these performances remain the classic yardstick by which all later ones must be judged.The digitally remastered transfers from the original 78s, yielding an astonishingly clean ambience to the cello, represent another technical triumph for Keith Hardwick; but listeners with acute ears will notice that the Courante of the E flat Suite and the Gavotte of the C minor were recorded at a slightly sharper pitch than the movements preceding them. Our buying guide shall provide you with detailed product reviews on the top-rate 371 bach choraless trending in the market these days. He did, indeed, possess a touch with ‘the strength and softness of a lion’s velvet paw’, and I know of few recordings from which today’s generation of pianists could learn so much; could absorb by osmosis, so to speak, his way of transforming a supposedly learned tome into a fountain of limitless magic and resource. Lindsay Kemp (March 2008). Déjà dans le prélude de choral de Bach "Dies sind die heiligen zehn Gebot" (BWV 678), elle fait ressortir clairement le choral, que les autres voix accompagnent en contrepoint. In his booklet-note Gardiner repeats his assertion that Bach’s great skill as an artist lay in his ability to write music with supreme power to console, and it is clear that this is what he has looked for here. But while you may not always want to sit through nine verses of chorale before getting down to business (or indeed listen to the half-time sermon, taken from a 1720 collection by Erdmann Neumeister, which is downloadable from the Linn website! Here we have something more perspicacious than merely good pacing: the Monteverdi singers narrate this play of uncertainty and the growing anticipation of understanding God’s will with such corporate and dynamic purpose that, even when the two choirs converge in an affirming four-part double fugue, we never feel quite out of the woods. Truly symphonic in grandeur, the work is harnessed impressively by this exceptionally experienced Bachian. It’s hardly surprising that great violinists throughout history have paired up for this irresistible double act. A good number of Pobłocka’s recordings, however, are either out of print or difficult to source. Alongside the top-class and pliable choral singing of Polyphony comes the roll call of exceptional soloists – Nicholas Mulroy among them. Johann Sebastian Bach: Chorales: Wenn ich in Angst und Noth, BWV 427 . There’s nothing about him in the booklet – as if to say, it’s not about me, the music is enough. But to describe any of these figures as merely ‘intellectual’ would be to miss out the huge humanity of their playing. Hewitt is amazingly skilful in the contrary motions of 21 but Perahia keeps a firmer hold on the principal theme and in Variation 25 his classic, sculpted lines conjure a level of purity reminiscent of Lipatti (in Bach generally, that is – not the Goldbergs in particular, which Lipatti never recorded). A famous response to Gieseking’s playing as being “like Monet in Giverny” was made with reference to his legendary Debussy performances. Lindsay Kemp (February 2001). The tremulous confidences of Variation 13 in the 1955 performance give way to something more forthright, more trenchantly and determinedly voiced, while Var. Donald Francis Tovey observes:Counterpoint, the art defined by Sir Fr e deric kGor eOusele yasthat of ’combining melodies’. Some players have been too inclined to make heavy weather over this piece and I have sometimes been driven to despair by the seriousness with which the wonderfully unbuttoned Quodlibet (Var 30) is despatched. Superb solo playing, too, flautist Jaime Martin producing a memorably plangent tone. And when an individual performance does break through to something more outwardly emotional, as in Minney’s imploring ‘Können Tränen meiner Wangen’ or the heavy-laden strokes of Reiko Ichise’s gamba in ‘Komm süsses Kreuz’, it thus emerges all the more truly. Note, too, Pobłocka’s swaggering D major Fugue and how each entrance of the D minor Fugue’s exposition is consistently phrased, down to the slight tapering of the trill. Both are uncomplicated, utterly instinctive musicians with a sure technical command and sound stylistic sense, and in works as robust and complete as these, that is most of the battle already won. They help to make each partita announce itself as something ambitious and a unity, not just a succession of dances. Several choices reveal sincere reflection about how Bach might have expected such concertos to be played during his years of service at Cöthen, such as the use of low ‘Cammerton’ pitch (A=392) and Werkmeister III temperament, and a decision to tune the viola da gamba and violone grosso to ‘Chorton’ (ie up a third) in order to better exploit the sonorities of open strings. That might account for Murray Perahia – 70 next April – calling time on Sony Classical after an apparently happy marriage of 43 years. But the extraordinarily resonant sound he makes is probably less to do with the instruments than with the playing itself, which is warm, expansive, generous and friendly. This is music-making to lift the spirits. This is an outstanding and distinctive addition to a catalogue bursting at the seams. 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