Boston Baroque and Martin Pearlman recorded a splendid set of the Brandenburg Concertos on period instruments in 1993 and 1994. Made entirely in the US, these snappy, crisply articulated, and fluent performances rely heavily on the talents of violinist Daniel Stepner (who doubles as one of the two solo violists in Concerto No. 6). Among the highlights are the joyous finale to Concerto No. 4 and the superb cembalo cadenza in No. 5, played by Pearlman. Along with outstanding sound, there's a winning sense of freshness and discovery in these performances.
The music of the Eighteenth century features delicate textures and refinement as well as expressiveness and energy. This was the age of the smaller chamber orchestra, and Bach was one of the compositional geniuses of the century. In this recording, the award-winning Amsterdam Baroque Orchestra, which specializes in authentic renditions on fine reproduction period instruments, performs four delightful Bach suites, including No. 1 in C, No. 2 in B Minor and Nos. 3 and 4 in D Major.
Brecon Baroque was founded in 2007 by violinist Rachel Podger as resident ensemble at her annual Brecon Baroque Festival.
An expert in the field of Baroque violin, Rachel Podger is back from the studio with another Bach album. This time, accompanied by the Brecon Baroque ensemble, she's focusing on some of Bach's double and triple concertos - BWV 1043 for Two Violins, BWV 1044 for Harpsichord, Flute and Violin, BWV for Violin and Oboe, and the Concerto for Three Violins, BWV 1064.
A new recording from violinist Rachel Podger is always worth attention. And before you even get to appreciating the first-class performances - faithful realizations of Bach’s Art of Fugue skillfully arranged for strings - you notice the immediate, vibrant presence of the instruments. The sound is stunning, reminiscent of the early days of digital recording, when listeners used to marvel at how realistic the sound was. Channel Classics has been doing this forever; we just may have forgotten how special it is when it’s done right.
This is the fourth volume of ATMA's ongoing Bach Cantata cycle and it is a big improvement over Bach: Cantatas BWV 1, 82, 147 - Montréal Baroque because Eric Milnes has moderated his previous excesses of interpretative choices. Now pauses fit in the overall conception of phrases and the longer line is immediately identifiable without recourse to a score…