[…] This live CD documents a pair of concerts with guitarist Ulf Wakenius (who also worked with Peterson) and drummer Jonas Johansen, the first five tracks from 1999 and the last six from Pedersen's final recorded concert in March 2005, just a few weeks before his sudden death from a heart attack. […] Both concerts are intimately recorded and this is easily one of Niels Pedersen's best CDs as a leader. ~Ken Dryden, All Music Guide
Although conductors invariably include the six great motets of Bach (BWV225-230) in recordings of these works, they seldom if ever seem to agree which if any other of Bach's motets to perform with them. John Eliot Gardiner very sensibly goes for the lot, adding Sei Lob und Preis mit Ehren (BWV231) and the little-known Der Gerechte kommt um which does not even have the benefit of a Schmieder number. As well as these, Gardiner also includes two short pieces which belong, at least nominally, to the cantata category, BWV50 and BWV118. In the case of the latter there is much justification for doing so for it's a single movement choral piece in motet style written for a funeral in about 1736 and revised for a performance around 1740. Here we have what sounds to me like a compromise; in other words the horns, cornetto and sackbuts of the first version (possibly intended for an open air occasion), with the strings and woodwind of the second. This may be explained in the texts, none of which has been included with my review copy…
This long-deleted Essential Classics reissue (available again courtesy of Arkivmusic.com’s on-demand reprint program) comprises the first CD remastering of two separate Bach piano releases. One disc features Rosalyn Tureck’s Bach Album, an early-1981 digital production made up mostly of short pieces, plus the Aria and Variations in Italian Style. The close-up yet warm sonics capture the full measure of Tureck’s technical specificity, subtle use of color, and micromanaged dynamics. Notice her absolute linear control in the F minor suite’s Prelude (first sound clip), or how her seemingly over-detached articulations (the seventh Italian variation) always maintain a lilting presence.
This set includes two of the rarest and hardest to find of all recordings: the 1958-59 version of the Bach Cello Suites by Janos Starker – the one everyone says his later recordings cannot match – and the extremely beautiful performance of Bach's unaccompanied violin sonatas and partitas – the one that Japanese collectors pay 3-digit dollar prices for – in outstanding EMI Digital Re-Masterings.
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.
Even though Angela Hewitt's repertoire is quite extensive and diverse, encompassing the Baroque, Classical, Romantic, and modern eras, her true specialty is the music of J.S. Bach, which she has recorded almost exclusively for Hyperion since the 1980s. With this recording of The Art of Fugue, Hewitt completes her long-running series of piano renditions of the solo keyboard works, and while not everyone is convinced that Bach composed this study of fugal techniques for the keyboard, Hewitt's performance is credible and satisfying. She controls the often unwieldy counterpoint by regarding the lines as if they were vocal parts, and her phrases are shaped by natural breathing points, as well as the different emotional qualities she brings to each fugue and canon. The Art of Fugue can be daunting for both performer and listener because its persistent tonality of D minor and monothematic material can be quite tedious in the wrong hands.
In his recording of Bach's 48 Colin Tilney, unlike his fellow competitors in the same repertory, plays both a clavichord (Book 1) and a harpsichord (Book 2). Why not? Bach's title for the first book of 24 preludes and fugues, The Well-tempered Clavier leaves both this issue and that of tuning wide open. The clavichord was a favourite instrument of Bach's, so was the harpsichord and the organ; indeed, I am sorry that Tilney does not include a chamber organ since some of the pieces, the E major Prelude and Fugue (Book 2), for instance, seem well-suited to it. Tilney's performance of the 48 differs again from almost if not all others in the sequence which he adopts in playing the preludes and fugues. But an apparently random approach is in fact nothing of the kind, but one that is directly linked with tuning. We know that Bach himself was a master in matters of tuning as he was in all other aspects of his craft. What we do not know is the exact nature of his tuning.
Norwegian folk musician Sinikka Langeland, singer and player of the kantele (the Finnish table harp) is a distinctly non-traditional traditionalist, redefining "folk" in successive projects. 'Maria's Song' finds her in the company of two distinguished classical musicians - organist Kare Nordstoga and "giant of the Nordic viola" Lars Anders Tomter - and on a mission to restore Marian texts to sacred music, weaving folk melodies in between the timeless strains of J S Bach. Langeland made a lot of friends with her sparkling ECM debut Starflowers: "There are jewels everywhere on this arresting example of ego-free music-making. One of the albums of this or any other year" raved the Irish Times. Where Starflowers brought Langeland into the orbit of jazz improvisers, Maria's Song is a meeting and cross referencing of folk and 'classical' energies, and also a righting of historical 'injustice': Religious folk songs are amongst the most distinctive elements of the Norwegian folk tradition, yet the Virgin Mary rarely appears in them. Once a much-worshipped figure in the Far North she was, as Sinikka puts it, "reformed" away in 1537, so this album brings Maria back into the music. It was recorded in the beautiful Nidaros Cathedral of Trondheim, famous for its Baroque organ heard here.