In many cases I also consulted the published scores. Johann Sebastian Bach on Kunst der Fuge site: List of pages: Harpsichord. 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. Achetez neuf ou d'occasion It energises his performances and makes them seem to inhabit a state of grace. In 1950 the piece was assigned the number 1076 in Schmieder's catalogue of Bach's works. Price. Some might find the basic pulse of the First and Fifth Sarabandes perhaps too slow. And has the Prelude, Fugue and Allegro ever sounded so contemporary in its nostalgic sweetness and, in the final movement, sheer unabashed joy? This is as apparent in the fast major-key movements such as BWV529’s opening Allegro and dramatic minor-key movements such as the Vivace from BWV526 as it is in the slower, which, like the Largo of BWV526, tend towards the quicker side without sacrificing delicacy or gravitas. All the more reason then to celebrate Naxos’s release of Gieseking’s Bach and Beethoven in recordings dating from 1931-40, made when this unique artist was at the height of his career. Its emotional intimacy and urgency are better suited to the agility and immediacy a one-to-a-part performance brings, and the result can be a deeply compelling human drama. Except of course we’re talking about their own musical knowledge and experience. Variation 21 is painted in the boldest of oils, so to speak, and most importantly of all, Landowska's 'black pearl' (Var. Sample what he does with the Fifth Suite’s bustling Bourrée, glistening and playful. That impression is deepened by this disc: here is an artist who palpably adores and reveres JSB in equal measure, and makes sense of a programme that could have sounded bitty – 35 tracks, with the biggest work being the youthful Aria variata (alla maniera italiana). The 1998 edition of that catalogue mentions Haussmann's paintings as original sources for the work, and likewise the Bach … She holds interest in the long and difficult-to-sustain A minor Fugue by terracing the dynamics and incorporating myriad alternations of touch and timbre. In terms of pianistic lineage, Ólafsson combines the fantasy of Maria João Pires and Martha Argerich with the contrapuntal élan of Piotr Anderszewski. 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. Passions are large-scale choral works telling of the suffering and death of Christ, and none come finer than those of Bach, of which two have come down to us: the St John and the St Matthew. 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. Bach, Johann Sebastian : Jesu, Joy of Man's Desiring (Jesus bleibet meine Freude) (Choral of the cantata Herz und Mund und Tat und Leben, BWV 147.) Damien Guillon is a commanding presence, with a quality of sound that carries both line and text with purpose and panache (listen to the opening of Part 2 as an exceptional example). The sense of engagement is infectious. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to, JS Bach: the 2020 Editor's Choice recordings, Recording Bach's Three-Part Inventions at home. Chorales voice, continuo Bach's authorship uncertain 511 F214a Gib dich zufrieden und sei stille: G minor 1725 Chorales voice, continuo 512 F214b Gib dich zufrieden und sei stille (II) E minor 1725 Chorales voice, continuo 513 F216 O Ewigkeit, du Donnerwort: 1725 Chorales voice, continuo 514 F216 Schaffs mit mir, Gott, nach deinem Willen ? Less abandon than Koopman, perhaps, but this is supremely refined playing and articulates the ambitions of an exceptionally distinguished project. His approach to the Goldbergs is tremendously spirited and energetic but also disciplined. In the booklet interview Perahia reveals that his first encounter with Bach in concert was as a teenager when he heard Pablo Casals conducting the St Matthew Passion at Carnegie Hall. 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. Graphic Violence ; Graphic Sexual Content ; texts. Stephen Plaistow (October 2014). He can trace the most exquisite cantabile, even while attending to salient counterpoint, and although clear voicing is a consistent attribute of his performance, so is flexibility. 2000 saw Universal Music's worldwide release of BL! Harpsichord or piano? The B minor Corrente and D minor Allemande, for example, become more expressive through this subtle phrasing, and her G minor Presto and E major Prelude are not merely mechanically fluent. 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). 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. The recorded sound is full and forward. He points out that this is “a personal feeling, not a theory”, but it has to be said that once you know that he is thinking of the Agony in the Garden during the darkly questioning Second Suite (the five stark chords towards the end of the Prélude representing the wounds of Christ), the Crucifixion in the wearily troubled Fifth or the Resurrection in the joyous Sixth, it adds immense power and interest to his performances. 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. Though this at first may seem like a surprisingly light-touch reading from Gardiner, it is in fact one with a firmly controlled atmosphere of hurt and vulnerability. Like Hewitt, he surpasses himself. Since then she has pursued a steady and successful career as both soloist and chamber musician, with a sizeable discography to her credit. I’ve rarely heard a comparably upbeat and joyous A flat Prelude, or an A flat Fugue so organically tapered. There is also a pleasingly unhyperbolic DVD of the sessions including interviews with Alessandrini. 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. 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. A good number of Pobłocka’s recordings, however, are either out of print or difficult to source. Here, as elsewhere, her discipline is no less remarkable than her unflagging brio and relish of Bach’s glory. Save my name, email, and website in this browser for the next time I comment. Bach 16 Chorales by J.S. You can be in no doubt of the thought that has gone into this enterprise, from Anderszewski’s ordering of the courantes of the First Suite, which he explains in the booklet, to the programming of the suites themselves, opening the disc with the Third rather than the more quizzical First. Less consistent are the solo movements. This is borne out in many ways, none more than the dialogues of the ‘Quoniam’, where the bass, horn and bassoons fulfil many purposes in a changing canvas. The G sharp minor Prelude is a particularly inspired example of Pobłocka’s controlled freedom and imaginative voicings. 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. Retrouvez Complete Book Of Bach Chorales (Archive Edition) et des millions de livres en stock sur Amazon.fr. Again, in the Second Partita, her playing is quite without those excesses or mannerisms that too often pass for authenticity, and at 2'14'' in the Andante immediately following the Sinfonie she is expressive yet clear and precise, her following Allegro a marvel of high-speed yet always musical bravura. Listen to the E flat minor Prelude and try to focus exclusively on Pobłocka’s careful dynamic calibrations in the accompaniment: what understated sustaining power and legato mastery! He ends his journey with the A minor Fantasia and Fugue, BWV904, which again is unerring in its sense of build, the closing bars of the Fugue making a fittingly grandiose conclusion to the disc. A hint of over-exuberant thickness in the texture of Concerto No 1 is perhaps a reflection of this, but elsewhere it is good to hear playing from the likes of violinist Kati Debretzeni, flautist Katy Bircher and the excellent David Blackadder on trumpet that is bold and confident without straying into coarseness. While all four of Bach’s have a kind of courtly nobility beyond that they range enormously: from the gracious sequence of dances in the First; via the catchy ‘Badinerie’ for flute that ends the Second; to the trumpets-and-drums opening of the Third; and finally the heady grandeur of the Fourth, easily one of the best Bach works, rivalling Handel’s most opulent creations in terms of pure pomp. Only Samuil Feinberg’s arrangement on the piano has lifted this piece completely out of its safe organ istic sphere – but I think it now has a partner in grandeur, flair and emotional risk. Apart from a couple of underwhelming movements (‘Können Tränen’ is not vocally settled), the vast majority of arias represent the highest quality of Bach-singing. No complete series can deliver equal inspiration in every volume but Suzuki and BCJ have created an indelible mark on Bach’s recorded vocal landscape. Collections of Chorale-Settings by J. S. Bach; Manuscript collections 149 Chorales (Dittel, 1734-35) 3 Choräle zu Trauungen (1734-38) 135 Chorales (Fasch, 1762) 383 Chorales (1770-89) Published collections 371 Vierstimmige Choralgesänge (1784-87) 319 Mehrstimmige Choralgesänge und geistliche Arien (1850-65) Vierstimmige Kirchengesänge (1893) Ah yes, ‘intellectual’ pianists, I hear you mutter. That certainly does not imply any absence of virtuosity: there have been few recordings of these pillars of the repertoire so impeccable in intonation and so free from any tonal roughness. This new recording, made with an ensemble hand-picked for the job, is a 60th-birthday present to himself, and is just what such a project should be: talented musicians relishing each other’s company in music of truly inspiring greatness. Indeed, conviction shows on every track of the set. Peter Quantrill (March 2008). What’s unusual here is the melding of two different types of keyboard, one sharply transient, the other ductile; and just how their functions dovetail with one another may be heard in the slow movement of the Brandenburg Concerto No 5. The clarity achieved in Nos 4, 5 and 6 also has a more natural air than the “studio-y” balance of the Archiv set, no doubt helped by the decision to use a violone at pitch rather than the more usual octave below. 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. Such is Layton’s overall grip and understanding of the generic dramatic properties of the St John – especially in controlling tension and release – that we have here a perfect balance for the greater spontaneity of John Butt’s touchingly inhabited and personal journey. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental and vocal. Designed for harpsichord, but equally enthusiastically claimed by pianists, it consists of a lyrical theme with 30 variations, lasting about an hour. The close, with its ingeniously compressed lines and the composer’s outrageous sign-off, literally spelling his name (B is B flat and H is B natural), is celebrated in some style by Suzuki. And so it continues: almost as if Ólafsson is offering different angles on the statue of Bach that he keeps by his piano – one that ‘looks like wisdom incarnate, stern-faced and majestic in its wig’. Levit’s version has added to the discography of this inexhaustible music with distinction and I believe it will run and run. 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. Layton’s reality is about cultivating the focus of each sentiment with supreme corporate executancy. Bryce Morrison (Awards issue 2000), As Angela Hewitt tells us in her exemplary accompanying essay‚ Bach’s Toccatas were inspired by Buxtehude’s ‘stylus fantasticus – a very unrestrained and free way of composing‚ using dramatic and extravagant rhetorical gestures’. This whispered intimacy extends into his insertion of an ornamented version of this movement, entitled ‘Les agréments de la même Sarabande’, which proves a masterclass in audacious ornamentation, yet never overburdening Bach’s melodic lines. William Yeoman (January 2011). Above all‚ however‚ her intelligence and unfailing attention to text are a lesson to all; in ‘Schlummert ein’‚ the way her voice subsides almost to nothing‚ retreating into the orchestral texture at ‘fallet sanft’ (fall asleep)‚ is entrancing. 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. CG 89 Ave Maria : Meditation on first Prelude of Bach < Gounod, Charles < FREE (115) Opus 68 Album for the Young (Album für die Jugend) < Schumann, Robert < FREE (108) BWV 248 Christmas Oratorio < Bach, Johann Sebastian < FREE (103) Adeste fideles < Wade, John Francis < FREE (103) Buy sheet music. What really makes this one special, however, is its emotional integrity, coming not from affected theatricality but from a pervading air of profound sadness. Lionel Salter (March 1989). It is closely recorded in a church acoustic to give a brilliant tone with added depth. Jonathan Freeman-Attwood (May 2013), Sols; Concentus Musicus Wien & Arnold Schoenberg Choir / Nikolaus Harnoncourt. To do so he had had to evolve new techniques and, intellectually, to delve deeply into the character and inner structure of the music. He has an excellent sense of the longer line and the harmonic pull beneath Bach’s wonderfully melodic writing. Inexorable momentum here is born of fervent authority, a virtuosity of combined effects without gratuitous excess. 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. The two make a fine match. Bach mediates between the French and the Italian styles in the course of the six works, and Levit doesn’t miss a trick. Leaving aside the most famous organ work of all, the Toccata and Fugue in D minor (which some doubt is by Bach at all), one of the most brilliant works is his Fantasia and Fugue In G Minor. So we leap from the dizzying heights of the outlandishly difficult trumpet-writing that colours the second Brandenburg Concerto, to No.6, which gets its dark shades from the lack of violins. 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. Canon triplex a 6: first printed in 1747, it appears on both versions of the portrait Haussmann made of Bach. 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. I cannot think that there’s a single recording (and by now I must have heard at least 30) that doesn’t identify some minor detail unnoticed by others. Enjoy! The chorus is impressively disciplined and radiant in the opening chorus, during which rapid duet passages are delivered impeccably by James Gilchrist and Peter Harvey. Bach’s solo Cello Suites are immensely difficult, not least because he was determined to make the instrument sound self-sufficient. The musicians convey it with infectious zeal in the white-hot conviction of tenor Makoto Sakurada’s open-throated Daughter of Zion sequence (from No 19, ‘O Schmerz!’); illuminated by light and shade in the instrumental accompaniment, soloist and chorus combine in an essay of unbearably imminent suffering. How scrupulously she observes Bach’s moderato qualification in the C minor Toccata’s Allegro fugue‚ how delicate and precise her way with the same fugue’s return. 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. Fermer les suggestions Recherche Recherche. I’ve only had this recording for five days but I predict a long and happy future in its company. As with so much mainstream repertoire, the catalogue is so full of recordings – good and bad – that there often has to be some form of abstract justification to qualify any further additions. 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 If on the piano, however, which isn’t a second-best, I incline to those exponents who are not apologetic about their instrument and at the same time show awareness, relish even, of what the best harpsichordists have achieved, from Gustav Leonhardt to Andreas Staier (I mention two exceptional players who have made complete sets). And it all flows effortlessly – though I’m sure the journey has been anything but that. 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). Finally, let me praise his cantabile playing (a singing style), which Bach extolled to his students as a constant aim. Unusual here, also, is how an emphatically non-organ-playing reviewer can effortlessly alight on the kinds of malleable Bachian conceits enjoyed habitually in the composer’s concertos, keyboard suites and vocal works. Jonathan Freeman-Attwood (April 2020), Sols; Monteverdi Choir, English Baroque Soloists / John Eliot Gardiner. Jonathan Freeman-Attwood (December 2007). The final chorus ending in a church acoustic to give a brilliant tone added... Are always a living feature of the sessions including interviews with Alessandrini: the sonatas and.... Such beautifully immediate sound advice from Edwin Fischer to a catalogue bursting at fourth! 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