Even as period-instrument bands dominate baroque music performance today, many small chamber orchestras demonstrate that it is possible to give stylish, restrained, crisply articulated performances of baroque music on modern instruments. When I compare this rendition of the Bach Magnificat to a period-instrument, one-singer-to-a-part version with Andrew Parrot on Virgin, the latter comes off sounding like a parody of authentic performance practice (rushed tempos, pallid vibrato-less tone, ugly lunging swells on suspensions) while this Naxos version sounds like a model of good taste and fine music making - from orchestra and vocal soloists alike.
In addition to the 75 J.S.Bach's Cantatas by Munchener Bach-Chor & Munchener Bach-Orchester conducted by Karl Richter.
The BWV 127 cantata was not included in the "75 Cantatas" set.
Given the considerable number of recordings that have tried to place Renaissance compositions within the context for which they were written, it is odd that the same has so rarely been done for Bach. After all, most of Bach's output consists of Gebrauchsmusik, music written for daily use. This release by Scotland's historical-instrument Dunedin Consort and its leader John Butt shows the possibilities of this approach.
The box contains a perfect overview of VIVARTE’s legendary catalogue of ancient music ranging from Vivaldi to Brahms. Most of the recordings received critical acclaim all over the world, many of them won prestigious awards and many are reference recordings.
Markku Luolajan-Mikkola has a reputation for excellence and already has two Gramophone Awards. With a fan base to match, Luolajan-Mikkola is at the top of his game. In Luolajan-Mikkola’s Linn debut, he tackles the pinnacle of Bach’s productions for violinists: the Partitas and Sonatas. Luolajan-Mikkola transcribed these works for cello. His goal with this recording has been to encapsulate expression and emotion according to the character of each movement. A historically informed musician, he performs on baroque cello.
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