Bach's Coffee Cantata BWV 211 & Peasant Cantata BWV 212 are secular and very light. The librettos are innocuous and sometimes silly; however, there's a playfulness and joy of life which redeem them. Bach's music is often glorious and well brings out the play and joy. Reviews I have read of the Tafelmusik recording have been rather unkind, noting that neither Tafelmusik nor the vocal soloists display sufficient charm and joy for the high-spirited moods of the music. I can't deny that Hogwood's vocalists are better than Tafelmusik's. Suzie LeBlanc can't match Emma Kirby for youth or high-spirits, and tenor Nils Brown pales next to Rogers Covey-Crump. However, Brett Polegato is very good in the baritone role. Tafelmusik does present a darker atmosphere than Hogwood, and I'm sure that the reviews have considered that a negative.
A one-disc, 20-track condensation of Mercury's two-disc, 50-track anthology ANYWAY THE WIND BLOWS, THE VERY BEST OF J.J. CALE is the one J.J. Cale CD to have when you're having only one. Leading off with a new recording of "Call Me the Breeze", featuring Johnny Cash's R&B-playing son John Carter Cash, THE VERY BEST OF J.J. CALE runs through 19 other Cale gems, including the original versions of "After Midnight" and "Cocaine", both made famous by Eric Clapton. The surprise to new listeners used to the more showboating Clapton versions will be how laid-back and seemingly offhand Cale's originals are. That goes for every song on this set. A master of the two-minute blues, Cale plays and sings with remarkable restraint and economy. There's no one like him.
Youngest son of J.S. Bach, Johann Christian Bach rose to prominence in England during the early Classical period much the same as his father dominated the German Baroque. His writing was influenced by his father, of course, but also by the fashions being explored by Haydn. J.C. Bach also served as a bridge to Mozart, whose work and early writings were also influenced by the junior Bach. A total of 15, three-movement symphonies were published under Opp. 6, 9, and 18.
Given the considerable number of recordings that have tried to place Renaissance compositions within the context for which they were written, it is odd that the same has so rarely been done for Bach. After all, most of Bach's output consists of Gebrauchsmusik, music written for daily use. This release by Scotland's historical-instrument Dunedin Consort and its leader John Butt shows the possibilities of this approach.
Andrew Manze has been called "the Grappelli of the Baroque violin" because of the improvisatory liveliness of his approach; however, he can just as easily change personalities. Sometimes he pads along with sinewy grace like a panther ready to spring (the Preludio to BWV 1023, for example), sometimes he goes for a much more relaxed cantabile line, and sometimes he plays with a sparkling and infectious sense of fun (Presto, BWV 1021).
This 68-minute program–a compilation of recordings made by Jordi Savall, Montserrat Figueras & Co. during the years 1976 and 2008 (including several selections originally released on dhm and Virgin Classics)–proved one of those purely pleasurable, effortlessly rewarding listening sessions that only rarely come along. We don't often review compilations drawn from multiple recordings made in different venues and over many years–they're so often programmatically disjointed and sonically varied; but in this case it doesn't matter. The music is compatible stylistically and these performers are so consistent in the quality and care and vitality of their performances that, well, what's 30 years or so?