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.
For those who already appreciate Rachel Podger's unique brand of magic I'll just say that this return to recorded Bach is lovely and all that one could hope for. All that one looks for is here, and there is more. For those who are not familiar with Rachel Podger, she is a unique voice among violinists. She has absorbed the principles of late Baroque performance practice and made them a part of herself, so that the articulation and inflection of that rhetorical approach to music flows from her as a natural idiom of expression.
The Dutch performer Bob van Asperen is a recognized specialist in the realm of performance on period keyboard instruments. Born and raised in Amsterdam, Asperen completed a conventional university course of study in music before embarking on lessons with harpsichord master Gustav Leonhardt starting in 1967; Asperen made his debut in Haarlem in 1968. Also in 1968 Asperen joined the group Quadro Hotteterre, of which he was a member until 1984. Asperen completed his studies in 1972 after finishing a course in organ at the Amsterdam Conservatory given by Albert de Klerk. Afterward he accepted a teaching post at the Royal Conservatory in The Hague, which he held until tapped to replace the departing Gustav Leonhardt at the Sweelinck Conservatory, prompting Asperen's return to Amsterdam. His teaching duties in the Netherlands have not restrained him from touring internationally; Asperen has given master classes elsewhere in Europe and also Canada, the United States, and Australia.
This two-CD set is actually part of an ambitious undertaking: ESS.A.Y Recordings recorded these sonatas in two different versions, this one featuring Ms. Tenenbaum on a modern violin and accompanied by a modern piano played by Richard Kapp; the other recording (reviewed below) features Ms. Tenenbaum playing an older violin and accompanied by a harpsichord played by Gerald Ranck.
Trombonist J.J. Johnson, 64 at the time of Quintergy, is heard in top form on this Live at the Village Vanguard set. His quintet, which includes Ralph Moore on tenor and soprano, pianist Stanley Cowell, bassist Rufus Reid and drummer Victor Lewis, is perfectly suited to interpret the spirited set of advanced bop. Highlights include Johnson's feature on "You've Changed," "Coppin' the Bop," "Lament" and his unaccompanied playing on "It's All Right with Me." Excellent music. Another Antilles CD, Standards, comes from the same sessions.