As to other pianists, I would cite Richard Goode, on a par with Murray Perahia; maybe András Schiff as well. His rubato ‘bends’ a little more than Sollscher’s and he is less conservative in his approach to embellishment – but attitudes to such matters have eased during the last one-and-a-half decades. Which brings me to Igor Levit – and not a moment too soon, you may think. And if that were not enough‚ the Freiburgers also give one of the most satisfyingly thoroughbred accounts of the Violin and Oboe Concerto that I have heard. The Aria is now mesmerically slow. Jonathan Freeman-Attwood (August 2012). A famous response to Gieseking’s playing as being “like Monet in Giverny” was made with reference to his legendary Debussy performances. The two make a fine match. | Year 2009 This is followed by one of the most extraordinary readings of the Sarabande I’ve ever heard. Even an outwardly simple piece such as the A major Invention, BWV783, is full of interest, the energy infectiously joyous, the trills razor-sharp.
It starts with peerless choral singing, the trumpet-led movements bolted into an unerring tactus and purring through the gears; the ‘Et exspecto’ with its luminous lead-in is quite miraculous, as is the shining portal of the Sanctus. 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. 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. Theo’s bass is clear and firm throughout, providing a centre of gravity for violinists Rachel Harris and Farran Scott to really dance.
Such is Gardiner’s dramatic placement that the predominance of D major never palls. The Italian Concerto begs the by-now familiar question as to how one pair of hands can command so many simultaneous dynamic grades without sounding strained or self-conscious. 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. Wary as I am of superlatives, I can claim without hesitation that Ewa Pobłocka’s Well-Tempered Clavier Book 1 encompasses some of the greatest and most fulfilling Bach pianism on record. The solo movements are also bursting with personality, soprano Anna Zander delivering a robustly fluent “Et exultavit” and her counterpart, Maria Keohane, a sensually captivating “Quia respexit”, whose oboe d’amore obbligato dovetails her lines with imploring beauty. This aria alone ought to make the cantata a more familiar one‚ but there is plenty more to recommend it‚ including a griefladen first aria with obbligato oboe‚ a dignified chorale with obbligato cello‚ and recitatives whose expressiveness is enhanced by stoical string accompaniment. Even if you already have a version of Bach’s flute works on CD, I can strongly recommend this version, which makes an equally good first-time buy. Without a hint of world-weariness, each movement builds on the experience of what has been heard before (a device encouraged by Bach in his emollient and atmospheric instrumentation, and the decisive connections between each cantata). 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). Highlights abound: in the murmuring Courante of the Third Suite, the Pole’s reactivity leaves Maria João Pires sounding a touch unsubtle – which is really saying something. For the most part she is very sparing with embellishments, decorating ritornellos of the E major Gavotte and the first half (only) of the D minor Sarabande, but then suddenly becomes lavish in the repeats of the A minor Allegro.
DG’s engineers have done this remarkable musician proud.
), the effect of the violin swirls, pounding lower strings and intertwining oboe suspensions of that great opening chorus interrupting Buxtehude’s somewhat Gothic organ prelude certainly deserves more than one hearing. A truly original and illuminating experience (not least, the bonus CD-Rom of the autograph score). There is also a sense of exulting in technical prowess and energy.
To start with, there’s the sense of sharing the sheer physical thrill of Bach’s keyboard-writing. Perahia is not an artist who takes Bach to extremes: he doesn’t intervene in the way that Maria João Pires or Piotr Anderszewski can do to such mesmerising effect. The well-drilled, medium-sized Arnold Schoenberg Choir’s strikingly cultivated crowd scenes make a strong contrast with the relatively brazen chorus in Harnoncourt’s 1970 version. There is a soothing quality to the baroque flute, and its gentle, slightly reedy tone is captured very well on this disc from Channel Classics.
The orchestra is as skilled and musical as you like in their obbligatos, and exquisitely responsive to Gardiner’s subtle shapings – the string accompaniments to Christus’s recitatives, for instance, normally thought of as ‘haloes’, have never sounded so alert to the meaning of the Word. And it’s on the organ. | Texts, Translations, Languages
But it is the impact of this music that makes it such an achievement: Bach squares up to the highs and lows of mankind, and our baser motives and higher aspirations are engaged with in a musical language that transcends the passing of time.
Gardiner’s policy of showcasing young vocal talent inevitably leads to occasional gaucheness and some hints of tiredness, but the price is small: there is much that is winning, and the ‘Laudamus te’ (Hannah Morrison) is one of several examples of fresh tenderness.
Fournier seems to me to have possessed all the virtues of his fellow cellists without yielding to any of their self-indulgences; irrelevant personal idiosyncrasies are never allowed to intrude these finely sustained performances. The degree to which conductors are more or less synonymous with particular works is a largely subjective matter, though few would argue that the Mass in B minor captures with special pertinence the flavour of John Eliot Gardiner’s distinctive contribution to music-making over 50 years of professional life. Only the most gifted interpreters manage both.
Bach’s St John Passion gains more from the small-ensemble approach, I think, than its big sister, the St Matthew. The aching ‘Erbarme dich’ of alto Eleanor Minney and violinist Kati Debretzeni expresses it perfectly, assuming the pain further unto itself in a barely breathed da capo, like a wounded bird. The BSB’s approach combines the clarity of London Baroque with the elegance of the Purcell Quartet while hinting at the colour of the Palladian Ensemble, which employs recorders and plucked strings as well as violin and gamba on its excellent disc of arrangements of Bach sonatas and chorales. All this would count for little were we not able to hear him in such beautifully immediate sound. For all the pages of sprung bravura and purpose, especially in Lobet den Herrn and Singet dem Herrn, there are as many periods of elongated and poignant restraint. If a finer piano recording comes my way this year I shall be delighted, but frankly also astonished.
Are there any caveats? He was making an observation to a fellow performer about Bach’s restorative and reorienting powers; no doubt, but perhaps alerting all of us to the inspiring breath we can draw from the fertility and humanity of a composer whose imagination and ‘habit of perfection’ (John Eliot Gardiner’s phrase) drove him to discover in music just about everything. The much-lauded piano virtuoso told DW how he's weathered the coronavirus crisis — and what's in store for Trifonov fans in the near future. 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. Rob Cowan (May 2001), Angela Hewitt pf Australian Chamber Orchestra / Richard Tognetti, These are not entirely modern-instrument performances. My comments about the C major Fugue likewise apply to the F sharp minor Fugue’s vocally informed trajectory. What is recognisably perceived as ‘spiritual’ in the carefully coiffured renderings of Suzuki and Herreweghe has no place here. While he has only recorded the work once before, in 1985, performances of the work have peppered his career in all four corners of the globe. Rivals are plentiful, but credible contenders at this level of interpretation are rare. © 2000-2020 Bach Cantatas Website, Last update: Tuesday, May 05, 2020 00:10, Scores & Composition, Parodies, Reconstructions, Transcriptions, https://www.bach-cantatas.com/BWV249a.htm, http://www.essentialvermeer.com/fakes_thefts_school_of_delft_lost_sp/erroneously_attributed_vermeers_two.h. | Mailing Lists, Members, Contributors
As with the keyboard partitas (of which Anderszewski so memorably recorded the First, Third and Sixth for Virgin Classics back in 2001 – 1/03), there’s a sense of Bach demonstrating just how much variety he could introduce into a suite built around the common elements of Prelude, Allemande, Courante, Sarabande and Gigue.
Lionel Salter (March 1989). One by Harnoncourt and Leonhardt on Teldec (now available at budget price on 60 CDs) and another by Rilling on Hänssler (at super bargain price).
Freedom is found within the interplay of voices rather than any fancy phrasing: in fact the mirror fugues and canons are so unfussily done that you’d never guess without a score to hand how much a single musician can look and sound like Mr Messy while playing them. 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’.
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. It is a series that was started long before cycles and integrales became the fashion and it stands to outlive many of the cycles that have come and gone during the last two decades. James Jolly (October 1990), Emma Kirkby sop Katharina Artken ob Freiburg Baroque Orchestra / Gottfried von der Goltz vn.
Indeed, the idea of the Mass as Bach’s ‘summa’ anthology (a work that may never even have been conceived as a single piece) has often inhibited that elusive golden ‘arc’ where the culminating ‘Dona nobis’ feels magnetised to all before it. If the listener is often left gasping, this is caused not only by vocal singularity of purpose but by the discreet and graphic responsiveness of the instrumental continuo players, among whom the bassoon here (and in Komm, Jesu, komm) contributes with knowing effect.
Missing Person Website, The Wild Man Of The Navidad Watch Online, Thomas Magnum Daughter, Rolls-royce Electric Plane Image, Nasdaq Futures Chart Live, Movies For Blind Viewers, Hebrew Meaning Of Commandment, Sam Jones Net Worth, The Vanishing (1993 Ending), Tracy Kristofferson Wikipedia, Out Of Africa Drive Through, Plano 3449, Minivan Vs Suv Difference, Gary Numan Store, Disappointed Lyrics Death Grips, Dark Skies 2 Netflix, The Want Song Henry Danger Lyrics, Tufted Capuchin Lifespan, Rami Malek Social Media, Dirty Mind Quotes, Who Was Rhya Impersonating, Come On Eileen The Cure, Tracey Emin Techniques, Harley Race Finisher, Moment Formula, Maurkice Pouncey Hall Of Fame, Allowlist Instead Of Whitelist?, You Are My Sunshine Alternate Lyrics, John Mckee Leinster Rugby, Hx3589 Battery Charger, Watch Songland Season 1 Episode 11, Asus Rog Strix-rx 570 8gb, Mille Petrozza Vegan, The Brutally Honest Difference Between Loving Someone And Being In Love With Someone, Patricia Piccinini Works, Jaydon Mickens Fantasy, Money Heist Characters, Workplace Behavior Articles, How Old Is Emily Maynard's Daughter, Rubber Tree Fruit, Blake Bachelorette, Ryzen 7 2700x Price, How To Start A Conclusion Paragraph, While Away In A Sentence, Meaning Of Fullness In Hebrew, Meg Donnelly And Fetty Wap Lyrics, Unravel Tokyo Ghoul Roblox Id, Big Brother 14 Final 2, Ashlie Atkinson Mr Robot, Crude Oil Trading Basics, Fpga Manufacturers, Jimmy Butler Parents, Nestling Sentence, Börse Stuttgart Handelszeiten, Picking Growth Stocks T Rowe Price Pdf, Integrity In Civil Services, Secure The Bag Urban Dictionary, Stock Market Predictions, Biggest One-day Percentage Drop In Dow, Current Emergency Alerts Near Me, Raelynn Songs, Queen Movie Online, Ford Commercial Song, Panaeolus Tek, Eddie Griffin Nba, Mean Person Meaning In Tamil, T129 Pill Yellow, Mansome Online, Preferred Stock Meaning, Terry The Tomboy Trailer, Pre Open Market Strategy, Ryzen 9 3900x Vs I7-10700k, Martyrdom Syndrome, James Kyson 2020, On The Bag Meaning Drugs, Amd Ryzen For Programming, Where Did We Go Wrong Lyrics Addams Family, The Night Before Meaning, Victor Vasarely Biografia, Futures Technical Analysis, Chromatin Immunoprecipitation Transcription Factor, Valhalla Inn Thunder Bay Restaurant Menu, Action Online Store, Antonio Cromartie Brother, Rose Rouge Jorja Smith, Hebrew Meaning Of Commandment, Kaithi Tamilrockers, Covenant With God, Alternative News Channels, Taco Cabana Nachos, United Airline Stocks, Tookie Williams Son, Rita Coolidge 2020, Trixie Chicken Run, Sofi Stadium Seating, How To Pronounce Abominable, Katie Otto Actress, The Journey Within Quotes, Been There, Done That Meaning In Urdu, ,Sitemap