‘Peter Schneider conducted with real feeling for the score and the prelude to the first act stole upon the ear with the magic of Bayreuth’s amazing acoustics. Robert Dean Smith is now a fine Tristan with a really beautiful voice. …Robert Holl made a moving King Marke, his magnificent bass nobly used. Some of the most beautiful singing came from Clemens Bieber's Young Seaman at the beginning.’ (The Stage)
Three of Bach's four cantatas for solo alto were written within the period of a few months in the year, 1726. It is surmised by musicologists that they were written for a specific singer, for they are very difficult, and not easily sung by the moderately skilled personage. There are strenuous technical demands on the vocal and expressive qualities of the singer, who must be an accomplished coloratura capable of expressive cantible singing as well as possessing accurate intonation. A female or a castrato voice were out of the question, but a high falsetto was not.
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)
This is an enjoyable, somehow spontaneous recording of several of Bach's works for a pair of harpsichords, with the great Japanese Bach conductor Masaaki Suzuki joined by his son Masato. The high spirits of the elder Suzuki here could be chalked up to any combination of several factors. One might be freedom from the rigors of his complete Bach cantata cycle, just recently completed when this album appeared in 2014.
Listening to this irresistibly joyful and magnificently musical set of Bach's Brandenburg Concertos and Orchestral Suites, one is immediately struck by two thoughts. First, Masaaki Suzuki and the Bach Collegium Japan have been wasting their time concentrating on Bach's dour cantatas, and second, Bach himself was wasting his time writing his melancholy church music when he could have been composing infinitely more cheerful secular music. While Suzuki and his crew have turned in superlatively performed, if spectacularly severe recording of the cantatas, they sound just as virtuosic and vastly more comfortable here.
"The trees are coming into leaf/Like something almost being said." Taking a cue from these lines of Philip Larkin, pianist Simone Dinnerstein casts her album of the music of J.S. Bach and Franz Schubert in poetic terms. Her understanding of the composers is summed up in her own words: "The music of Bach and Schubert share a distinctive quality, as if wordless voices were singing textless melodies." Of course, Bach and Schubert were masters of setting texts to profoundly expressive music, so it is fruitful to look for the lyrical impulse in their keyboard works and appropriate to find songful interpretations. Yet Dinnerstein doesn't merely serve up rhapsodic renditions or treat the music as some kind of tuneful vehicle for idiosyncratic or personal reveries. Her playing is quite in character for both composers, and her treatment of the material is far from self-indulgent. Indeed, counterpoint and harmony are carefully balanced against the upper lines, and Dinnerstein is completely in control of the inner parts in Bach's partitas and the rhythmic subtleties of Schubert impromptus. Dinnerstein's playing is well-rounded and skillful, and the care she lavishes on the smallest details of execution may well remind listeners of Glenn Gould (without his attendant eccentricities) or Angela Hewitt.
Für den kaiserlichen Gesandten in Dresden, Hermann Graf Keyserlingk, sollen die Goldberg-Variationen entstanden sein. Der Graf habe, wie Bach-Biograph Nikolaus Forkel schreibt, die Musik bei Bach bestellt in der Hoffnung, „daß er dadurch in seinen schlaflosen Nächten ein wenig aufgeheitert werden könnte.“ Diese Bearbeitung der Goldberg-Variationen für zwei Gamben setzt die Reihe der schon bestehenden Transkriptionen fort.