Lisa Batiashvili presents a fine selection in chamber and orchestral music of popular, but also newly recorded Bach pieces. This includes the first ever recording of Bach’s famous aria “Erbarme Dich, mein Gott” in a transcription for violin, oboe and orchestra on Deutsche Grammophon. First ever recording of C. Ph. E. Bach’s Trio Sonata in b flat minor for violin, flute and BC on Deutsche Grammophon. For this Lisa teams up with the world’s famous flutist from Berliner Philharmoniker, Emmanuel Pahud. For one of the real hits on that CD, the double concerto for violin and oboe BWV 1060, Lisa collaborates with her husband, the oboist Francois Leleux. An interpretation from the heart!
Fans of Angela Hewitt will be delighted to find her in chamber mode, accompanying Andrea Oliva (described as ‘one of the best flutists of his generation, a shining star in the world of the flute’ by Sir James Galway) in a programme of J S Bach’s flute sonatas (including one by his most famous and talented son, CPE). Of unfailingly remarkable quality, all these works exploit the full potential of an instrument which was only just coming into its own when they were written. Oliva’s lyricism and agility coupled with Hewitt’s musicianship—not to mention her lifelong rapport with Bach’s music—make this an album to treasure.
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…
Here, again, Brilliant Classics has licensed recordings of the passions, masses and other works. The St. Matthew and St. John passions are good recordings by the Brandenburg Consort and the King's College Choir; I find these two passions to be a bit weak, and this is a shame.
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.