None of these reconstructions are included in Teldec’s Bach 2000, although the better-known ‘originals’ obviously are. The real newcomer is the Sinfonia, BWV1045 (5'34'') ‘to an unknown cantata’ which – as befits a BWV number that immediately precedes the First Brandenburg Concerto – is rumbustious, festive and thematically likeable. Time and again I could sense allusions to other Bach instrumental pieces, though the soloist’s ceaseless arpeggiating is sometimes a distraction. We’re told it’s authentic (the manuscript source suggests a violin concerto in the making) but something about its harmonic language doesn’t quite ring true, though that reaction might well be due to lack of familiarity.
"…As usual, Ancalagon gives us an absolutely first-rate production, superb booklet notes in full color, and some of the best Super Audio surround sound on the market today. I keep insisting that small group chamber music provides some of the best opportunities to show off surround sound, and this disc proves the point. When the music is as brilliant and sparkling as we have here—Bach would certainly be thrilled—there simply remains no excuse under the sun to avoid acquiring this disc immediately. This composer oozes from the souls of these two performers." 5/5 ~Audiophile Audition
Their Warner Classics debut makes clear that Christina & Michelle Naughton show great imagination in their programming: Messiaen's mystical and epic Visions de l'Amen, composed during World War II, appears alongside John Adams' boisterous and percussive Hallelujah Junction, inspired by a truck stop on the border of Nevada and California. The CD is completed with J.S. Bach's serenely moving Gotttes Zeit ist die allerbeste Zeit, BWV 106, in an arrangement by the contemporary Hungarian composer Gyorgy Kurtag.
Only months after Deutsche Grammophon released Anne-Sophie Mutter's recording of Bach's violin concertos, Decca released Julia Fischer's recording of the same pieces. The similarities between the two discs run deeper than merely their shared repertoire. Both labels are branches of Universal Music Group and both violinists are individualistic German women, though Mutter is currently at the peak of her career while Fischer is just a bit past starting out. The differences, however, are likewise remarkable. The Deutsche Grammophon disc includes the world premiere of a new work by Sofia Gubaidulina dedicated to the violinist, while the Decca disc includes the more conventional coupling of Bach's Concerto for violin and oboe in C minor, BWV 1060.