BBC New Generation Artist Beatrice Rana sets her sights on Bach in this dignified reading of the Goldberg Variations. Treating every ornamentation and run with stately regard, Rana delivers a deep, meditative interpretation. Its closing “Aria” sounds so delicate that it feels at risk of floating away.
The complete cantata recordings of a Bach conductor who defined performance standards of these works in his day, newly remastered and compiled together for the first time on CD. In the generation of Bach interpreters before Karl Richter who brought his cantatas to an international audience, the name of Fritz Lehmann stands out: and indeed might still have eclipsed Richter but for his early death in 1956, at the age of just 51 and significantly just before the stereo era would move recorded music into a new era. Lehmann’s recorded legacy is nonetheless significant on its own terms, made mostly for Deutsche Grammophon and encompassing the Brahms’s German Requiem, and a Christmas Oratorio which he was recording at the time of his death, completed by Günther Arndt and now reissued by Eloquence (4827637).
Hearing an album of Bach arias sung by a countertenor may not be essential for every listener. Many of the high arias from Bach's cantatas weren't the kind of operatic pieces that called for a muscular male voice comparable to those that have tackled Handel's arias in similar collections, and Bach, at least much of the time, wrote for female vocalists. If you enjoy countertenor singing, however, this release by Canadian singer Daniel Taylor may be the Bach album of choice.
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.
In many ways this is a special recording. It features first-desks from the Chicago Sym. playing two of Bach's Brandenburg Concertos, and so far beyond the average Baroque ensemble are they that one yearns for the other four. Just to hear the amazing trumpet solos in Concerto no. 2 by the legendary Adolph Herseth repays the cost of the CD. But we also get James Levine doing double duty at the harpsichord in Concerto no. 5. One deficit from the rise of period performance is that non-specialists have been driven out. The days when an all-around musician like Levine or Leonard Bernstein performed Bach and Handel are more or less over, and their replacements, to be tactful, are not on such an exalted level of talent…. By Santa Fe Listener
Gustav Leonhardt began recording Bach's secular cantatas on Philips in 1990 after completing the sacred cantatas cycle with Harnoncourt. Those Philips discs were well received but are now hard to find, either on CD or as downloads, so I was thrilled to discover that Leonhardt, now 80, just recorded another pair of Bach's secular cantatas.
Bach's Coffee Cantata BWV 211 & Peasant Cantata BWV 212 are secular and very light. The librettos are innocuous and sometimes silly; however, there's a playfulness and joy of life which redeem them. Bach's music is often glorious and well brings out the play and joy. Reviews I have read of the Tafelmusik recording have been rather unkind, noting that neither Tafelmusik nor the vocal soloists display sufficient charm and joy for the high-spirited moods of the music. I can't deny that Hogwood's vocalists are better than Tafelmusik's. Suzie LeBlanc can't match Emma Kirby for youth or high-spirits, and tenor Nils Brown pales next to Rogers Covey-Crump. However, Brett Polegato is very good in the baritone role. Tafelmusik does present a darker atmosphere than Hogwood, and I'm sure that the reviews have considered that a negative.