Konstantin Lifschitz has long since established himself as an outstanding exponent of the works of Johann Sebastian Bach. He has already recorded the `Musical Offering´ and the `Art of Fugue´ for ORFEO and now turns his attention to the composer´s seven keyboard concertos. He is partnered by the Stuttgart Chamber Orchestra, an ensemble that enjoys an equally distinguished reputation for its Bach interpretations. With only three of these seven concertos has it been possible to identify specific originals with different solo instruments, while the other four have been ascribed to various other instruments by experts in the field; attributions that none the less continue to be hotly debated.
The appetite for evolving performance practices in Bach’s St Matthew Passion appears undiminished as we have gradually shifted, over the generations, from larger to smaller ensembles and also towards a greater dramatic understanding of the implications of Bach’s ambitious ‘stereophonic’ double choir and orchestra choreography.
GRAMOPHONE AWARD WINNER 2015 - BAROQUE INSTRUMENTAL RECORDING OF THE YEAR. This recording is the first time that the five-stringed Amati has been used to record the 6th suite and it is the only original five-string cello in existence in the UK and unique in being the only one by this maker. The Cello Suites are performed on two gut-string cellos Suite Nos. 1-5 on a Francesco Ruggieri from 1660 and Suite No. 6 the five-stringed Cremona cello by A. & H. Amati from c.1600, both tuned to Baroque pitch. Bachs cello suites are renowned as the pinnacle of the instruments repertoire and are performed here in period performances by the internationally acclaimed cellist, David Watkin. David Watkin has been performing Bachs Cello Suites in concert for 35 years, and Bachs unaccompanied cello repertoire has taken him all over Europe, from the Palace of Frederick the Great at Potsdam to the Prague Spring Festival, and, as part of Sir John Eliot Gardiner's Bach Cantata Pilgrimage, included performances sitting by the font in which Bach was baptised.
The second section of the cantata is a long vocal section opening with four soloists (soprano, alto, tenor and bass) singing together. Many recordings of this cantata use a choir for this section, but recent recordings have featured a one-voice-per-part strategy here, as does this one. The texture of this is excellent, although the balance between the voices wavers a bit. The tenor, bass and soprano each have ariosos within this section. Tenor Knut Schock enters a bit heavily, but his voice is quite appropriate for the melancholy tone of his section. Bass Bas Ramselarr has a slightly dark, yet clear voice. His section features a delightful accompaniment by the two recorders - in an interesting counterpoint with such a deep voice - and, again, the balance is slightly off, his voice sometimes drowning out the recorders just a bit…
No doubt many of you are wondering whether I should be recording Bach’s complete sonatas and partitas at the age of only 21. Perhaps I should have waited a bit longer? Well, patience has seldom been my strong point, and after all I have already waited a number of years for an opportunity to record these works. During the first six years of study with my teacher Ana Chumachenco, I studied the sonatas and partitas thoroughly, and first performed both cycles in their entirety in the Bach year 2000, during the course of two evenings at the Mecklenburg-Vorpommern Festival.
Karl Richter’s recordings of Bach’s orchestral and sacred music influenced an entire generation of musicians and listeners, presenting the conductor’s unique sound and style. When Richter recorded Bach’s works, he freed them from a ponderous tradition that had mired the music in romantic sounds and idiom. Richter lightened Bach’s music, and, with an orchestra of outstanding musicians, helped bring it toward the more modern interpretations that listeners have become familiar with today. This is still a bit far from the historically-informed performances that are pretty much the norm, but there is a unity and natural originality that comes through the music in these recordings.