Advent Concert: Bach

Nikolaus Harnoncourt, Concentus Musicus Vienna, Arnold Schoenberg Choir - An Advent Concert of Music by Bach (2003)

Nikolaus Harnoncourt, Concentus Musicus Vienna, Arnold Schoenberg Choir - An Advent Concert of Music by Bach (2003)
NTSC 16:9 (720x480) VBR | (Dolby AC3, 6 ch) | 4.08 Gb (DVD5) | 81 min
Classical | Kultur

Conducted by Nikolaus Harnoncourt. A fantastic concert celebrating the coming of Christmas, recorded live at one of Austria's finest baroque monasteries. Soloists are Christine Schafer, Anna Korondi, Bernarda Fink, Ian Bostridge, Christopher Maltman. With the Concentus Musicus Vienna and the Arnold Schoenberg Choir.
Trevor Pinnock / The English Concert - Bach: Complete Harpsichord Concertos (2002)

Trevor Pinnock / The English Concert - Bach: Complete Harpsichord Concertos (2002)
EAC Rip | FLAC (Image+.cue, log) | 03:19:19 min | Covers included | 1,16 Gb
Genre: Classical, Baroque / Label: DG Archiv

Pinnock’s performances of the Bach Harpsichord Concertos first appeared in 1981 and have dominated the catalog ever since. In the solo concertos he plays with real panache, his scholarship tempered with excellent musicianship." "The double, triple and quadruple concertos are digital, and the combination of period instruments and playing of determined vigour certainly makes a bold effect.
Trevor Pinnock, The English Concert - Bach: Die Ouverturen (The Orchestral Suites) BWV1066-1069 (1999)

Trevor Pinnock, The English Concert - Bach: Die Ouvertüren (The Orchestral Suites) BWV1066-1069 (1999)
EAC | FLAC | Image (Cue & Log) ~ 381 Mb | Total time: 76:24 | Scans included
Classical | Label: Deutsche Grammophon | # 463 013-2 | Recorded: 1978-79

Originally recorded in stereo in 1978 and 1979 and released on two separate LPs, these performances of Bach's Orchestral Suites (also known as the Overtures) with Trevor Pinnock leading his English Consort were as good as it got at the time for period instrument performances. And this 2007 single-disc re-release does not change that assessment. The Consort's strings are dry but warm – check out the Air from the Third Suite – the winds are colorful and quirky – check out the Forlane from the First Suite – the brass is controlled but cutting – check out the Ouverture from the Fourth Suite – and the timpani is vivacious but thankfully not overwhelming – check out the Réjouissance, also from the Fourth Suite. Pinnock's conducting is almost universally light and lively, and when it's not in the Second Suite, it's because the music itself is dark and dreary. Although there are dozens of great performances of the suites to choose from, if you're only going to have one recording on the shelf, it should be Pinnock's.
(James Leonard)
Leoš Čepický - J.S. Bach: Sonatas and Partitas for Solo Violin BWV 1001-1006
Classical | WEB FLAC (tracks) & d. booklet | 134:23 min | 708 MB
Label: Nimbus Alliance | Tracks: 31 | 2017

Leos Cepicky graduated from the East-Bohemian Conservatoire in Pardubice in 1985 under Professor Ivan traus. He started his promising career in his early teens, when he won the first prize and Laureate title at the Jaroslav Kocian International Violin Competition.
Le Concert des Nations, Jordi Savall - J.S. Bach: Musikalisches Opfer (2001) (Repost)

Le Concert des Nations, Jordi Savall - J.S. Bach: Musikalisches Opfer (2001)
EAC | FLAC (image+.cue, log) | Covers Included | 71:57 | 480 MB
Genre: Classical | Label: Alia Vox | Catalog: AV 9817

This interpretation is a perfect match to Savall's equally beautiful Art of the Fugue. Here you find even more variety in the blend of instruments. I am not going to have only one version of this music and my first recommendation is Münchinger's more emotional recording on Decca. When it comes to colourful instrumentation, however, Savall is the winner, and the direction & playing needs no justification, it is simply wonderful, even if I doubt this folk music style reflects the spirit of the baroque era.
Emmanuelle Haim, Le Concert d'Astree - Bach: Magnificat; Handel: Dixit Dominus (2007)

Emmanuelle Haïm, Le Concert d`Astrée - Bach: Magnificat; Handel: Dixit Dominus (2007)
EAC | FLAC | Image (Cue & Log) ~ 263 Mb | Total time: 56:05 | Scans included
Classical | Label: Virgin Classics | # 395241 2 | Recorded: 2006

What a wonderful contrast! Handel’s Dixit Dominus and Bach’s Magnificat represent the two oft-compared composers at Dixit . He had already written two Italian operas, and his career path clearly pointed in that direction. The Dixit is as extravagant as Bach’s Magnificat is controlled. The two pieces are such a good fit that one wonders why they haven’t turned up together more frequently, if, in fact, they have at all.
Tatiana Nikolayeva - P.I. Tchaikovsky: Piano Concerto No.2, Op.44; Concert Fantasy, Op.56 (2008) [The Russian Piano Tradition]

Peter Ilyich Tchaikovsky: Piano Concerto No.2, Op.44; Concert Fantasy, Op.56 (2008)
Tatiana Nikolayeva, piano; USSR State Symphony Orchestra
conducted by Nikolai Anosov & Kyrill Kondrashin

EAC | FLAC | Image (Cue&Log) ~ 203 Mb | Mp3 (CBR320) ~ 201 Mb | Scans included
Genre: Classical | Label: Appian | # APR5666 | Time: 01:16:08

These three titles inaugurate the Goldenweiser School, the last of the three great teaching traditions to be covered in this comprehensive survey of the many great pianists who worked in Russia in the Soviet era. Along with Goldenweiser himself we start with Nikolayeva and Ginzburg. The bulk of the issues in THE RUSSIAN PIANO TRADITION will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils. Today Nikolayeva (1924-1993) is remembered mainly as a Bach player and also as the definitive performer of Shostakovich's 24 Preludes & Fugues, which were inspired by, and written for, her after the composer heard her play Bach in the 1950 Leipzig Bach competition (which she won). However, to limit Nikolayeva's reputation to these two composers would be doing her a great disservice. She had a vast repertoire and her recordings include concertos by Bartok, Medtner, Prokofiev Stravinsky and several Soviet composers - including her own concerto, as she was also a composer! Further, she recorded the complete Beethoven sonatas and much other standard repertoire from the 19th century. This CD presents two recording premieres - the first ever recording of the Tchaikovsky Concert Fantasy Op56 and the first recording of the original version of Tchaikovsky's 2nd Piano Concerto.
Jordi Savall, Le Concert des Nations - Bach: Les Six Concerts Brandebourgeois (2010)

Jordi Savall, Le Concert des Nations - Bach: Les Six Concerts Brandebourgeois (2010)
EAC | FLAC | Image (Cue & Log) ~ 546 Mb | Total time: 45:25+54:08 | Scans included
Classical | Label: Alia Vox | # AVSA 9871 A-B | Recorded: 1991

As one of the major early music groups founded by virtuoso gambist and conductor Jordi Savall, Le Concert des Nations has served effectively as his orchestra since 1989 in repertoire ranging from the 17th to the 19th century, covering music of the Baroque and Classical periods on original instruments. This set of J.S. Bach's six Brandenburg Concertos has the recognizable stamp of Savall and his expert musicians on it, in the energetic pacing, stylish ornamentation, radiant instrumental colors, and the authentic character of the music, which is faithfully conveyed through lively ensemble playing. Whether it's a rugged, boisterous sound, which is frequently the tone of Bach's allegros, or a refined, courtly interpretation, as in the affecting slow movements, Savall and his ensemble make the music feel fully alive, spontaneous, and generously expressive, and at no point do the concertos feel like academic exercises or museum pieces. Savall and Le Concert originally released these performances of the Brandenburgs on the Astree label in 1991, but these hybrid SACDs on Savall's own Alia Vox label make the concertos sound better than ever, with discrete placement of parts in the multichannel recording and incredibly lifelike sound, which focuses on the finest details.
Fritz Lehmann & Berliner Philharmoniker - Bach: Nine Sacred Cantatas (1951/2018)

Fritz Lehmann & Berliner Philharmoniker - Bach: Nine Sacred Cantatas (1951/2018)
MP3 CBR 320 kbps | 03:45:35 | 519 Mb
Classical, Choral | Label: Australian Eloquence

The complete cantata recordings of a Bach conductor who defined performance standards of these works in his day, newly remastered and compiled together for the first time on CD. In the generation of Bach interpreters before Karl Richter who brought his cantatas to an international audience, the name of Fritz Lehmann stands out: and indeed might still have eclipsed Richter but for his early death in 1956, at the age of just 51 and significantly just before the stereo era would move recorded music into a new era. Lehmann’s recorded legacy is nonetheless significant on its own terms, made mostly for Deutsche Grammophon and encompassing the Brahms’s German Requiem, and a Christmas Oratorio which he was recording at the time of his death, completed by Günther Arndt and now reissued by Eloquence (4827637).
Andrew Parrott, Taverner Consort & Players - Bach: St. John Passion, Easter & Ascension Oratorios, Mass in B minor (2002)

Andrew Parrott, Taverner Consort & Players - Bach: St. John Passion, Easter Oratorio, Ascension Oratorio, Mass in B minor (2002)
EAC | FLAC | Image (Cue & Log) ~ 1,03 Gb | Total time: 33:54+75:28+65:56+50:39+52:51 | Scans included
Classical | Label: Virgin | # 5 62068 2 | Recorded: 1985, 1991, 1994

There are many, many good things about Andrew Parrott and the Taverner Consort and Players' Bach performances – their luminous colors, complete clarity, utter lucidity, and structural integrity – that there is an uneasy feeling in criticizing them for their occasional flaws. When Parrott's Bach is good, it is as great as any that has been recorded in the past 20 years. It's as great as Leonhardt's, Koopman's, or Herreweghe's, and far better than Gardiner's, Harnoncourt's, or Rilling's. And Parrott's Bach is so great in the great pieces – so great in the overwhelming dramatic intensity of the close of his Saint John Passion and so great in the mystery, agony, and ecstasy of the central choral triptych in his Mass in B minor – that his performances seem very, very great indeed.
(James Leonard)