Bach: Brandenburg Concertos 1,3,4/ Concerto for flute & violin

On this CD:

1. Brandenburg Concerto No. 1 in F major, BWV 1046
Composed by Johann Sebastian Bach

2. Brandenburg Concerto No. 3 in G major, BWV 1048
Composed by Johann Sebastian Bach

3. Brandenburg Concerto No. 4 in G major, BWV 1049
Composed by Johann Sebastian Bach

4. Concerto for flute, violin, harpsichord & strings in A minor ("Triple"), BWV 1044
Composed by Johann Sebastian Bach

Tracks:

Con No.1, BWV 1046 in F: I. (Tempo d'allabreve)
Con No.1, BWV 1046 in F: II. Adagio
Con No.1, BWV 1046 in F: III. Allegro
Con No.1, BWV 1046 in F: IV. Menuet-Trio I-Menuet-Poloinesse-Menuet-Trio II-Menuet
Con No.3, BWV 1048 in G: I. (Tempo d'Allabreve)
Con No.3, BWV 1048 in G: II. Adagio-Allegro
Con No.6, BWV 1051 in B Flat: I. (Tempo d'Allabreve)
Con No.6, BWV 1051 in B Flat: II. Adagio ma non tanto
Con No.6, BWV 1051 in B Flat: III. Allegro
Con No.2, BWV 1047 in F: I. (Tempo d'Allabreve)
Con No.2, BWV 1047 in F: II. Andante
Con No.2, BWV 1047 in F: III. Allegro assai

Tracks:

Con, BWV 1050a in D: I. Allegro
Con, BWV 1050a in D: II. Adagio
Con, BWV 1050a in D: III. Allegro
Con No.4, BWV 1049 in G: I. Allegro
Con No.4, BWV 1049 in G: II. Andante
Con No.4, BWV 1049 in G: III. Presto
Triple Con, BWV 1044 in a: I. Allegro
Triple Con, BWV 1044 in a: II. Adagio ma non tanto e dolce
Triple Con, BWV 1044 in a: III. Tempo d'Allabreve
Con No.5, BWV 1050 in D: I. Allegro
Con No.5, BWV 1050 in D: II. Affetuoso
Con No.5, BWV 1050 in D: III. Allegro

Customer Reviews:

Against the Grain.......2004-09-06

If your are looking for a well-recorded, aesthetically satisfying version of Bach's Brandenburg Concertos on period instruments for hours of relaxing listening, then I'm afraid you should probably go elsewhere (I recommend the English Concert directed by Trevor Pinnock on Deutsche Grammophon Archiv), for the German recording presented here by Siegbert Rampe and his ensemble La Stravaganza Hamburg is one that definitely goes against the grain. It is intellectually challenging and stimulating, yes, but also acoustically difficult and decidedly discomfiting. In a sense, it is a musicologists' recording aimed at those who already know the Brandenburg Concertos really well and now want to dissect them for their better understanding.

The two Cds in the set were recorded two years apart (1993 and 1995), and the second of the two was originally released on its own by the now-defunct label Intercord. It is this second disc that one should really listen to first, not only because it was recorded first, but also because it is easier to listen to and gives a much better impression of the whole. Concertos 4 and 5, the earliest version of Number 5 (BWV 1050a) and the Triple Concerto BWV 1044 are all played here with considerable gusto but also with a good degree of elegance. This, combined with the excellent recording technique, makes for exciting listening, although the attentive listener will notice certain unusual elements: The tempi of the fast movements are fast, requiring some virtuoso feats from the musicians; and the pitch is very low (a'=392 Hz). But all in all, the second Cd is among the best that I have heard.

The first CD (Concertos 1, 3, 6 and 2 in that order) seems to intensify the element of shock, almost to the point where one shakes one's head in disbelief. The outer movements are played not just rapidly, but rather as though the ensemble was trying to break a world speed record. How trumpeter Hans-Martin Kothe managed to play his part in the second concerto is a mystery to me, this even makes the Musica Antiqua Köln version (R. Goebel) sound lazy! In contrast, the slow middle movements are played at a very leisurely pace, which is in my opinion not convincing and overdoes the contrast. The first concerto, normally the first one would listen to, is especially crass: Rampe believes it is a musical description of a hunting scene with the dogs and horses chasing the deer at top speed, and he does quite a good job of conveying exactly that impression, the only problem being that one is quite out of breath by the time the poor animal escapes! The low French pitch coupled with a second harpsichord in the continuo adds a gruffness and drive to the bass line that is anything but elegant, and here I felt that Rampe had really sacrificed everything beautiful to his interpretation. In the polonaise, he has Margarete Adorf on the (Polish) violino piccolo improvising some loud but not particularly beautiful embellishments: Rampe believes that this passage was added by Bach as a pointer to the Polish lands owned by the Markgrave of Brandenburg, to whom the set was dedicated. Unfortunately, the recorded sound on CD 1 is not as pure as on CD 2.

Where this set comes into its own is the documentation, but only if you can read German. (The English and French texts are merely a summary of the amazingly long German essay.) Here Siegbert Rampe gives a rundown of the latest developments in research on the Brandenburg Concertos, not only presenting his own ideas but also critically evaluating those of his predecessors (such as Philip Pickett, whose recording of these concertos for Decca's L'Oiseau-Lyre imprint caused quite a stir a few years ago). This essay, if you are able to read it, is probably worth the whole price of the set and enables one to follow why Rampe plays the concertos the way he does (for example, he explains his concept of the Tempo d'Allabreve and why he plays the opening movements so fast). In the end I must say I found Rampe's theoretical considerations fairly convincing, but the musical realisation seems less so.

Average customer rating:

Period instrument feminism?

J.S. Bach: Brandenburg Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Bach: Cantatas & Masses

ASIN: B0000AKP8N
Release Date: 2003-11-04

Tracks:

Concerto No. 1 In F
Concerto No. 1 In F - Adagio
Concerto No. 1 In F - Allegro
Concerto No. 1 In F - Menuetto Trio I -- Polacca Trio II
Concerto No. 2 In F
Concerto No. 2 In F - Andante
Concerto No. 2 In F - Allegro Assai
Concerto No. 3 in G
Concerto No. 3 in G - Adagio - Allegro

Tracks:

Concerto No. 4 In G - Allegro
Concerto No. 4 In G - Andante
Concerto No. 4 In G - Presto
Concerto No. 5 In D - Allegro
Concerto No. 5 In D - Affettuoso
Concerto No. 5 In D - Allegro
Concerto No. 6 In B flat
Concerto No. 6 In B flat - Adagio Ma Non Tanto
Concerto No. 6 In B flat - Allegro

Tracks:

Violin Concerto In a - [Allegro]
Violin Concerto In a - Andante
Violin Concerto In a - Allegro Assai
Violin Concerto In E - Allegro
Violin Concerto In E - Adagio
Violin Concerto In E - Allegro Assai
Concerto For Two Violins In d - Vivace
Concerto For Two Violins - Largo Ma Non Tanto
Concerto For Two Violins In d - Allegro
Concerto For 3 Violins In D - Allegro
Concerto For 3 Violins In D - Adagio
Concerto For 3 Violins In D - Allegro

Tracks:

Violin Concerto In g
Violin Concerto In g - Largo
Violin Concerto in g - Presto
Concerto For Violin And Oboe In c - Allegro
Concerto For Violin And Oboe In c - Adagio
Concerto For Violin And Oboe In c - Allegro
Violin Concerto In d
Violin Concerto In d - Adagio
Violin Concerto In d - Allegro
Concerto For Flute, Violin and Harpsichord in a - Allegro
Concerto For Flute, Violin and Harpsichord in a - Adagio, Ma Non Troppo, E Dolce
Concerto For Flute, Violin and Harpsichord in a - Allabreve

Customer Reviews:

Period instrument feminism?.......2005-08-12

All the concertos contained on these four CDs are directed by women: Monica Huggett, Elizabeth Wallfisch, Alison Bury, Catherine Mackintosh. Having found the time to sit down and listen to the whole set really carefully, what I heard pleased me, on the whole, very much indeed, with only the fourth Brandenburg Concerto seeming a little "weak-kneed". The Brandenburg Concertos here cannot, perhaps, quite compete with Trevor Pinnock's legendary recording for Deutsche Grammophon Archiv, but the female directors have all obviously taken a good deal of trouble over the individual concerti and I was able to hear a good deal of detail, some of which I had not noticed on other recordings (and I own six or seven "Brandenburgs"). The playing is really excellent, the soloists are all quite remarkable for their competence and skill. Just listen to Catherine Mackintosh on the violino piccolo in the first Brandenburg Concerto, for example, or to the oboe, trumpet and harpsichord solos in some of the other concertos - this is all wonderful stuff!

The additional two CDs in the box contain Bach's Violin Concertos, the Triple Concerto BWV 144 and four reconstructed violin concertos (one with an additional oboe solo part), all played and directed from the violin by female Australian period-instrument specialist Elizabeth Wallfisch. I must say that here, too, I enjoyed the performances very much, although in the end I felt that BWV 1044 was rather weaker than on competing recordings by La Stravaganza Hamburg/Siegbert Rampe (Virgin Veritas) or by Le Concert francais/Pierre Hantai (Naive-Astrée). Of course, the reconstructed concertos are speculative, but it is quite fascinating to hear them in these versions instead of the much better-known harpsichord versions.

The documentation corresponds to the price and is kept to an absolute minimum.

Bach: Brandenburg Concertos/Brandenburgische Konzerte/Los Concertos Brandebourgeois

Average customer rating:

my favorite
Life on the edge
Definitely a mixed bag, but worth listening to
Don't make this your only recording of the Brandenburgs!
A refined recording with a powerfull interpretation

Bach: Brandenburg Concertos/Brandenburgische Konzerte/Los Concertos Brandebourgeois
Johann Sebastian Bach , Musica Antiqua Köln , and Reinhard Goebel
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B0000057D4
Release Date: 1990-10-25

Tracks:

Con No.1 in F, BWV 1046: 1. (Allegro Moderato)
Con No.1 in F, BWV 1046: 2. Adagio
Con No.1 in F, BWV 1046: 3. Allegro
Con No.1 in F, BWV 1046: 4. Menuetto - Trio I - Polacca - Trio II
Con No.2 in F, BWV 1047: 1. (Allegro Moderato)
Con No.2 in F, BWV 1047: 2. Andante
Con No.2 in F, BWV 1047: 3. Allegro Assai
Con No.3 in G, BWV 1048: 1. (Allegro Moderato)
Con No.3 in G, BWV 1048: 2. Allegro
Con No.4 in G, BWV 1049: 1. Allegro
Con No.4 in G, BWV 1049: 2. Andante
Con No.4 in G, BWV 1049: 3. Presto

Tracks:

Con No.5 in D, BWV 1050: 1. Allegro
Con No.5 in D, BWV 1050: 2. Affetuoso
Con No.5 in D, BWV 1050: 3. Allegro
Con No.6 in B flat, BWV 1051: 1. Without Tempo Indication
Con No.6 in B flat, BWV 1051: 2. Adagio Ma Non Tanto
Con No.6 in B flat, BWV 1051: 3. Allegro
Con in a, BWV 1044 'Triple Con': 1. Allegro
Con in a, BWV 1044 'Triple Con': 2. Adagio, Ma Non Tanto, E Dolce
Con in a, BWV 1044 'Triple Con': 3. Alla Breve

Amazon.com

Reinhard Goebel and Musica Antiqua Köln recorded the Brandenburgs in 1986-87 in a style that one can refer to only as punk Baroque. Their readings are characterized by slashing accents, missing articulations, a de-emphasis of melody, and an overemphasis of metrical pulse, with an attendant exaggeration of Bach's otherwise wonderfully enlivening syncopations. Occasionally, the most peculiarly anachronistic cadential ritards get thrown in as well. The result has all the charm of an antipersonnel mine. For an idea of what their "extreme" Bach sounds like, listen to the first movement of Concerto No. 6, which Goebel and his gang take so disastrously fast, it's laughable (they dispatch it in 4:25, compared with Boston Baroque's by no means poky 6:10). Makes you want to reach for your brass knuckles. --Ted Libbey

Customer Reviews:

my favorite.......2006-06-18

I don't see the need in collecting many performances of the Brandenburg Concertos, because simply put every single (authentic) recording I heard was great and the differences not that big to look at it as an (interesting) interpretation - something I do have with Bach's Mass in B or even more obvious in Mahler symphonies, there I do find the need to collect diiferent recordings/interpretations

If you see budget priced recordings by Tafel Musik (Sony Vivarte), Hugget (Virgin), Koopman (Erato), Il Giardino Armonico (Teldec) Suzuki (Bis) Pinnock (Archiv) and Parrott (Virgin) don't hesitate to buy a copy if you don't own one already...an extremely small chance you're not gonna like the performance.

Did I really hear all those recordings?
Yes, but to be honest only a few for a longer, evaluative period...so my opnion hasn't any weight at all and must not be taken that seriously.
I was only curious (maybe obsessed a while ago) why there are still new recordings made and if they added anything new to an already large library of Brandenburg Concertos and if some recordings were really that different.

There are 3 recordings that stood out of the rest for me and which I didn't mention yet:

Savall's recording (Auvidis)
Akademie fu Alte Musik Berlin (Harmonia Mundi full price and a budget release on Harmonia Mundi's "musique d'abord" which I have)
And this one, Musica Antiqua Koln with Goebel.

Savall's recording has a unique atmosphere, rather "rustic"
The Akademie fur alte Musik has a sumptious, warm timbred sound, not found in other recordings and finally my personal favorite Goebel has the fastest tempi and most tight ensemble playing.

I love Goebel's Brandenburg Concerto's, obviously because it were the first Brandenburg Concertos I heard, my first encounter with Bach's concertos.
But also because the playing is extremely fine: in those really fast tempi the ensemle still finds enough time and room to articulate accurately and finish every note and line at ease, there's no sense of hurry, it sounds completely natural.
Goebel's violin playing is excellent too.

I obviously do not agree with the editorial review by Ted Libbey: "The result has all the charm of an antipersonnel mine. For an idea of what their "extreme" Bach sounds like, listen to the first movement of Concerto No. 6, which Goebel and his gang take so disastrously fast, it's laughable"

These are livey performances and they sound fresh and spontaneous, but aren't actually that spontaneous at all: the playing is highly concentrated and tight - the Akadmie fur alte Musik and Il Giardino Armoncia for instance are more spontaneous in this respect.

Life on the edge.......2006-02-08

I collect recordings of the Brandenburg concerti and these rank among my favorites. This recording in particular has been criticized by some as outrageous because of the caffeinated tempi of the 3rd and 6th concerti. Are the performances authentic? Probably not, but are they an outrage? Definitely not! If nothing else these recordings are fun. My only wish is that the flute was a little more distinct in the first movement of the 5th concerto. Definitely a worthy addition to the collection of any Brandenburg Concerto collector.

Definitely a mixed bag, but worth listening to.......2005-12-20

I think the best way I can summarize this recording is that Musica Antiqua Koln take chances. Of course this poses problems, since when their approach doesn't work it fails pretty disastrously. What I have in mind especially are the first movement of the sixth concerto, and the outer movements (especially the last) of the third, that are taken far faster than logic allows, the results being downright unmusical. The advantage is that, whatever faults you may rightly accuse them of, MAK are never boring. My own personal tastes in this music are for a much more peaceful, humane approach, but try as I might I can't deny that often the music making here has incredible joy and sense of purpose. In the end, if you listen to this recording in it's entirety with an open mind, I think you'll discover a way of approaching these works totally different from anything you'll find elsewhere, and really, isn't that something to be treasured? Vive le difference!

Don't make this your only recording of the Brandenburgs!.......2004-05-23

This is a fantastic recording. But while Musica Antiqua Koln's technical skill outmodes that of nearly any other ensemble I've heard, Goebel's exaggerated tempi occasionally force these beautiful pieces to border on the non-musical. Yes, it's impressive to hear Brandenburgs 3 and 6 performed at lightning speeds, but simply playing "fast" doesn't necessarily mean "exciting" or even "listenable." Occasionally it's like speed-reading poetry. Having more than 10 sets of Brandenburgs in my collection, I'd certainly place this set in the upper half, but there are many other interpretations that allow the intricacies of these pieces to shine, rather than the virtuosity of the group performing them.

A refined recording with a powerfull interpretation.......2002-11-27

Before I start doing this review I must ask for your comprehension because I don't speak a very good english, but I'll do my best. This recording is one of the best recordings of any kind I know. The quality of the sound is impressive, but most important is the interpretation. This is the fastest interpretation of Brandenburg Concertos, wich gives power to this recording. Other decisive factor to turn this recording so special is the refinement of the instruments sound and the quality of each member of the orchestra. For that I recomend you to hear the second and third concerts.

Average customer rating:

An edition to take into account!
Nostalgic work in the best pre-period performance style
Bach and Other Artists
EMI's Bach Bonanza.
EMI's Bach Bonanza.

Bach: Orchestral Suites & Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music
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Sibelius: The Complete Symphonies & Tone Poems

ASIN: B00005MIZP
Release Date: 2001-11-06

Tracks:

Ste No.1 in C, BWV 1066: I. Ov - Bath Festival Orch/Yehudi Menuhin
Ste No.1 in C, BWV 1066: II. Courante - Bath Festival Orch/Yehudi Menuhin
Ste No.1 in C, BWV 1066: III. Gavottes 1 & 2 - Bath Festival Orch/Yehudi Menuhin
Ste No.1 in C, BWV 1066: IV. Forlane - Bath Festival Orch/Yehudi Menuhin
Ste No.1 in C, BWV 1066: V. Menuets 1 & 2 - Bath Festival Orch/Yehudi Menuhin
Ste No.1 in C, BWV 1066: VI. Bourrees 1 & 2 - Bath Festival Orch/Yehudi Menuhin
Ste No.1 in C, BWV 1066: VII. Passepieds 1 & 2 - Bath Festival Orch/Yehudi Menuhin
Ste No.2 in b, BWV 1067: I. Ov - Elaine Shaffer
Ste No.2 in b, BWV 1067: II. Rondeau - Elaine Shaffer
Ste No.2 in b, BWV 1067: III. Sarabande - Elaine Shaffer
Ste No.2 in b, BWV 1067: IV. Bourrees 1 & 2 - Elaine Shaffer
Ste No.2 in b, BWV 1067: V. Polonaise Et Double - Elaine Shaffer
Ste No.2 in b, BWV 1067: VI. Menuet - Elaine Shaffer
Ste No.2 in b, BWV 1067: VII. Badinerie - Elaine Shaffer
Ste No.3 in D, BWV 1068: I. Ov - Bath Festival Orch/Yehudi Menuhin
Ste No.3 in D, BWV 1068: II. Air - Bath Festival Orch/Yehudi Menuhin
Ste No.3 in D, BWV 1068: III. Gavottes 1 & 2 - Bath Festival Orch/Yehudi Menuhin
Ste No.3 in D, BWV 1068: IV. Bourree - Bath Festival Orch/Yehudi Menuhin
Ste No.3 in D, BWV 1068: V. Gigue - Bath Festival Orch/Yehudi Menuhin

Tracks:

Ste No.4 in D, BWV 1069: I. Ov - Bath Festival Orch/Yehudi Menuhin
Ste No.4 in D, BWV 1069: II. Bourrees 1 & 2 - Bath Festival Orch/Yehudi Menuhin
Ste No.4 in D, BWV 1069: III. Gavotte - Bath Festival Orch/Yehudi Menuhin
Ste No.4 in D, BWV 1069: IV. Menuet - Bath Festival Orch/Yehudi Menuhin
Ste No.4 in D, BWV 1069: V. Rejouissance - Bath Festival Orch/Yehudi Menuhin
Musical Offering, BWV 1079: Ricercare - Elaine Shaffer/Archie Camden/Ronald Kinloch Anderson/Yehudi Menuhin
Musical Offering, BWV 1079: 5 Canons - Elaine Shaffer/Archie Camden/Ronald Kinloch Anderson/Yehudi Menuhin
Musical Offering, BWV 1079: Trio Son: I. Largo - Elaine Shaffer/Archie Camden/Ronald Kinloch Anderson/Yehudi Menuhin
Musical Offering, BWV 1079: Trio Son: II. Allegro - Elaine Shaffer/Archie Camden/Ronald Kinloch Anderson/Yehudi Menuhin
Musical Offering, BWV 1079: Trio Son: III. Andante - Elaine Shaffer/Archie Camden/Ronald Kinloch Anderson/Yehudi Menuhin
Musical Offering, BWV 1079: Trio Son: IV. Allegro - Elaine Shaffer/Archie Camden/Ronald Kinloch Anderson/Yehudi Menuhin
Musical Offering, BWV 1079: 5 Canons - Elaine Shaffer/Archie Camden/Ronald Kinloch Anderson/Yehudi Menuhin
Musical Offering, BWV 1079: Ricercare - Elaine Shaffer/Archie Camden/Ronald Kinloch Anderson/Yehudi Menuhin

Tracks:

Brandenburg Con No.1 in F, BWV 1046: I. (Allegro) - Yehudi Menuhin
Brandenburg Con No.1 in F, BWV 1046: II. Adagio - Yehudi Menuhin
Brandenburg Con No.1 in F, BWV 1046: III. Allegro - Yehudi Menuhin
Brandenburg Con No.1 in F, BWV 1046: IV. Menuetto - Trio I - Polacca - Trio II - Yehudi Menuhin
Brandenburg Con No.2 in F, BWV 1047: I. (Allegro) - Denis Clift/Christopher Taylor/Janet Craxton/Yehudi Menuhin
Brandenburg Con No.2 in F, BWV 1047: II. Andante - Denis Clift/Christopher Taylor/Janet Craxton/Yehudi Menuhin
Brandenburg Con No.2 in F, BWV 1047: III. Allegro Assai - Denis Clift/Christopher Taylor/Janet Craxton/Yehudi Menuhin
Brandenburg Con No.3 in G, BWV 1048: I. (Allegro) - Bath Festival Orch/Yehudi Menuhin
Brandenburg Con No.3 in G, BWV 1048: II. Adagio - Bath Festival Orch/Yehudi Menuhin
Brandenburg Con No.3 in G, BWV 1048: III. Allegro - Bath Festival Orch/Yehudi Menuhin
Brandenburg Con No.4 in G, BWV 1049: I. Allegro - Christopher Taylor/Richard Taylor/Yehudi Menuhin
Brandenburg Con No.4 in G, BWV 1049: II. Andante - Christopher Taylor/Richard Taylor/Yehudi Menuhin
Brandenburg Con No.4 in G, BWV 1049: III. Presto - Christopher Taylor/Richard Taylor/Yehudi Menuhin

Tracks:

Brandenburg Con No.5 in D, BWV 1050: I. Allegro - Yehudi Menuhin/Elaine Shaffer/George Malcolm
Brandenburg Con No.5 in D, BWV 1050: II. Affettuoso - Yehudi Menuhin/Elaine Shaffer/George Malcolm
Brandenburg Con No.5 in D, BWV 1050: III. Allegro - Yehudi Menuhin/Elaine Shaffer/George Malcolm
Brandenburg Con No.6 in B flat, BWV 1051: I. (Allegro) - Yehudi Menuhin/Patrick Ireland/Ambrose Gauntlet/Dennis Nesbitt/Derek Simpson
Brandenburg Con No.6 in B flat, BWV 1051: II. Adagio, Ma Non Tanto - Yehudi Menuhin/Patrick Ireland/Ambrose Gauntlet/Dennis Nesbitt/Derek Simpson
Brandenburg Con No.6 in B flat, BWV 1051: III. Allegro - Yehudi Menuhin/Patrick Ireland/Ambrose Gauntlet/Dennis Nesbitt/Derek Simpson
Con in a, BWV 1044: I. Allegro - Yehudi Menuhin/William Bennett/George Malcolm
Con in a, BWV 1044: II. Adagio, Ma Non Tanto E Dolce - Yehudi Menuhin/William Bennett/George Malcolm
Con in a, BWV 1044: III. Alla Breve - Yehudi Menuhin/William Bennett/George Malcolm

Tracks:

Con in d, BWV 1052: I. Allegro - George Malcolm
Con in d, BWV 1052: II. Adagio - George Malcolm
Con in d, BWV 1052: III. Allegro - George Malcolm
Con in E, BWV 1053: I. (Allegro) - George Malcolm
Con in E, BWV 1053: II. Siciliano - George Malcolm
Con in E, BWV 1053: III. Allegro - George Malcolm
Con in D, BWV 1054: I. (Allegro) - George Malcolm
Con in D, BWV 1054: II. Adagio E Piano Sempre - George Malcolm
Con in D, BWV 1054: III. Allegro - George Malcolm
Con in A, BWV 1055: I. Allegro - George Malcolm
Con in A, BWV 1055: II. Larghetto - George Malcolm
Con in A, BWV 1055: III. Allegro, Ma Non Tanto - George Malcolm

Tracks:

Con in f, BWV 1056: I. (Allegro) - George Malcolm
Con in f, BWV 1056: II. Largo - George Malcolm
Con in f, BWV 1056: III. Presto - George Malcolm
Con in c, BWV 1060: I. Allegro - George Malcolm/Simon Preston
Con in c, BWV 1060: II. Adagio - George Malcolm/Simon Preston
Con in c, BWV 1060: III. Allegro - George Malcolm/Simon Preston
Con in C, BWV 1061: I. (Allegro) - George Malcolm/Simon Preston
Con in C, BWV 1061: II. Adagio Ovvero Largo - George Malcolm/Simon Preston
Con in C, BWV 1061: III. Fuga - George Malcolm/Simon Preston
Con in C, BWV 1064: I. Allegro - Eileen Joyce/George Malcolm/Thurston Dart
Con in C, BWV 1064: II. Adagio - Eileen Joyce/George Malcolm/Thurston Dart
Con in C, BWV 1064: III. Allegro - Eileen Joyce/George Malcolm/Thurston Dart
Con in a, BWV 1065: I. (Allegro) - Eileen Joyce/George Malcolm/Thurston Dart/Denis Vaughan
Con in a, BWV 1065: II. Largo - Eileen Joyce/George Malcolm/Thurston Dart/Denis Vaughan
Con in a, BWV 1065: III. Allegro (Vivace) - Eileen Joyce/George Malcolm/Thurston Dart/Denis Vaughan

Tracks:

Con in a, BWV 1041: I. (Allegro) - Yehudi Menuhin
Con in a, BWV 1041: II. Andante - Yehudi Menuhin
Con in a, BWV 1041: III. Allegro Assai - Yehudi Menuhin
Con in d, BWV 1043: I. Vivace - Yehudi Menuhin/Christian Ferras
Con in d, BWV 1043: II. Largo, Ma Non Tanto - Yehudi Menuhin/Christian Ferras
Con in d, BWV 1043: III. Allegro - Yehudi Menuhin/Christian Ferras
Con in E, BWV 1042: I. Allegro - Yehudi Menuhin
Con in E, BWV 1042: II. Adagio - Yehudi Menuhin
Con in E, BWV 1042: III. Allegro Assai - Yehudi Menuhin
Con in d, BWV 1060: I. Allegro - Yehudi Menuhin/Leon Goossens
Con in d, BWV 1060: II. Adagio - Yehudi Menuhin/Leon Goossens
Con in d, BWV 1060: III. Allegro - Yehudi Menuhin/Leon Goossens

Customer Reviews:

An edition to take into account!.......2007-04-04

The role of conductor of Yehudi Menuhin tends to be overlooked because its fame as renowned soloist and the final result of this wrong assertion has been the neglect of many of his conducted works like this one for instance. This set stands out among the most prestigious and brilliant ever made. You may regard them a little romantic but even so, the profound vitality and supreme commitment of Menuhin as director may be carved in relief.

So, please, flee all skepticism in which concerns this album and go without hesitating. It' s a worthwhile edition

Nostalgic work in the best pre-period performance style.......2006-11-17

This box is a nostalgic event for anyone that started listening to and collecting Bach recordings in the post World War II era. It is, indeed, an exemplar of the way Bach was interpreted in the "new" authenticity of the postwar period where Karl Munchinger and Pablo Casals were among the better interpreters of the composer.

In fact, the way Yehudi Menhuin leads the Bath Festival Orchestra in his readings of the Four Orchestral Suites reminds me very much of that old 2-LP set I had by Casals and the Marlboro Orchestra way back when. Denis Clift's trumpeting in the Brandenburg Concerto No. 2, more than any other recording of the music I've heard, reminds me of the opening of William Buckley's weekly polticial talk show that used to be on PBS in the 1970s. And George Malcolm's loving playing of Largo from the Harpsichord Concerto in F, BWV 1056, reminds me of its use in Woody Allen's film "Hannah and Her Sisters".

So is there more to this set than nostalgia? That depends on your perspective. If you are under age 40 and have been raised in the Speedy Gonzales period practice performance environment of ancient instruments, sour woodwinds, wiry strings and off-pitch playing, you may not immediately find equal enjoyment in this set.

If you are broad-minded about Bach performance you'll find a set that includes almost every significant piece of "orchestral" music by Bach performed with rapt attention, British reserve, and much love and kindness in andantes and largos. Even that old intellectual exercise for musicians, The Art of Fugue, is played musically and has allure for nonplayers who simply listen to the music without a score.

One significant caveat for all listeners: the middle section of the Brandenburg Concerto No. 4 substitutes a lengthy unBachian movement arranged by British composer Benjamin Britten. Critics often said Britten's recording of the Brandenburg's was one great composer interpreting another. In this movement, it appears Britten tried to merge with Bach. I wouldn't say the results are completely successful.

Otherwise there are multiple felicities inside this box. While Menhuin gets top billing and has his face plastered on every slipcase, I think harpsichordist George Malcolm is the star of the program. Playing a harpsichored that sounds a lot like the one Lurch played on "The Addams Family" television show of the period, Malcolm is always the arbiter or propriety and good judgment in the various concerti, whether he is playing solo or with partners in 2-, 3- or 4-harpsichored concerti featuring the likes of Thurston Dart, Denis Mathews and Simon Preston. In particular, the concerti BWV 1054, 1060-61 and 1064-65 are wonderfully done with taste, humanity and style.

I would also draw attention to magnificent readings of the Triple Concerto BWV 1044 and the Double Concerto for violin and harpsichored BWV 1066. I think the former concerto, which features marvelous playing by soloists Menhuin on violin, William Bennett on flute, and Malcolm on harpsichord, is one of the most satisfyings readings of this music I've ever heard.

The Bath Festival Orchestra is never less than inspired under Menhuin in the Brandenburg concertos, where they are ably assisted by soloists Malcolm, flutist Elaine Schaffer, and Christopher Taylor on recorder, among others. While Menhuin's style in the Orchestral Suites may seem a tad reserved and deliberate by 21st century PPP standards, they are never less than musically performed and always project the Bach that begot 20-plus children and buried 10 of them and a young wife during his lifetime. There is nary an episode of showmanship or stylistic pursuit for its own purposes; everything is done to illuminate Bach and his message.

Bach's humanity is constantly on display in this wonderfully consistent collection of performances from a past era that is still relevant in today's more wildy colorful, personal and rambunctious epoch. The recordings, which were made from 1956-74, are typical of the crossover from mono to multimiked stereo. Yet the recordings never draw undue attention to themselves; it is the players that draw attention to the composer.

As other reviewers here has said, this is an unusually generous collection of Bach's most popular music on 7 CDs. You don't have to be an old timer to enjoy this collection although it helps. If you are relatively new to Bach, think of this as an exemplar of the way things once were in the very best sense of that affirmation.

Bach and Other Artists.......2006-04-04

I must confess that I'm interested mostly in this collection of Bach's music because the flutist is Elaine Shaffer. My first exposure to her playing was the Bach Flute Sonatas, and that was maybe 25 years ago that I purchased the two volume set on vinyl LP's. And still, 25 years later, I have yet to hear the Sonatas played more beautifully than by by Ms. Shaffer. The flute world owes her a great debt. She was the first female flute concert artist in the world. I'm sorry she came to an early end with lung cancer just two months after recording the Bach Sonatas and the piece for Flute and Piano she had a large part in getting commissioned by Copland in memory of her teacher at Curtis Institute, William Kincaid after his death. Her playing in this recording of Bach pieces with other great artists and the Bath Chamber Orchestra are tastefully and beautifully played, just like everything she played. I mourn her early departure from the music world.

EMI's Bach Bonanza........2004-08-03

And what is the period? The recordings were made between 1956 and 1973. Ears attuned to contemporary styles of Bach performance will hear things that are different here. Period instruments are not used (if you accept violas da gamba as not strictly "period"). Warmth and affection rather than authenticity and precision characterize performances. The engineering seems aimed at balancing Bach's contrapuntal textures so that everything can be heard, rather than capturing what occurs in actual performance. Accordingly, the harpsichord contributions are audibly prominent, and sometimes they have the capacity to swell and fade in ways that Wanda Landowska might even have thought excessive.

Remastering was done in the 1990s and this compilation was released in 2001.

EMI's Bach Bonanza. .......2004-08-03

I know of no CD issue that packs as much of the orchestral music of J S Bach into one budget-priced box as this issue. Active in and inspiring the performances of all but two of the works is Yehudi Menuhin. He directs these performances while playing either violin or viola. He also attracts eminent fellow instrumentalists to contribute as required, so that the roster reads like a Who's Who of EMI recording artists of the period.

And what is the period? The recordings were made between 1956 and 1973. Ears attuned to contemporary styles of Bach performance will hear things that are different here. Period instruments are not used (if you accept violas da gamba as not strictly "period"). Warmth and affection rather than authenticity and precision characterize performances. The engineering seems aimed at balancing Bach's contrapuntal textures so that everything can be heard, rather than capturing what occurs in actual performance. Accordingly, the harpsichord contributions are audibly prominent, and sometimes they have the capacity to swell and fade in ways that Wanda Landowska might even have thought excessive.

Remastering was done in the 1990s and this compilation was released in 2001.

Average customer rating:

Amazing Collection, Amazing Ensemble!
highly recommended
I enjoyed these CDs & would highly recommend their purchase.

The Baroque Experience

Manufacturer: Mca Import
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000004CY0
Release Date: 2002-10-29

Tracks:

Le Quartro Stagioni Concerto No. l. 'Spring': I. Allegro
Le Quartro Stagioni Concerto No. l. 'Spring': II. Largo
Le Quartro Stagioni Concerto No. I. 'Spring': III. Allegro
Le Quartro Stagioni Concerto No. 2. 'Summer': l. Allergro Non Molto
Le Quartro Stagioni Concerto No. 2. 'Summer': ll. Adagio-Presto
Le Quartro Stagioni Concerto No. 2. 'Summer': lll. Presto
Le Quartro Stagioni Concerto No. 3. 'Autumn': l. Allergro
Le Quartro Stagioni Concerto No. 3. 'Autumn': ll. Adagio Molto
Le Quartro Stagioni Concerto No. 3. 'Autumn': lll. Allergro
Le Quartro Stagioni Concerto No. 4. 'Winter': l. Alergro Non Molto
Le Quartro Stagioni Concerto No. 4. 'Winter': ll. Largo
Le Quartro Stagioni Concerto No. 4. 'Winter': lll. Allergro
Concerto For Flute & Strings No.2, In G Minor, RV 439 'La Notte': l. Largo
Concerto For Flute & Strings No.2, In G Minor, RV 439 'La Notte': ll. Presto (Fantasmi) Largo
Concerto For Flute & Strings No.2, In G Minor, RV 439 'La Notte': lll. Presto
Concerto For Flute & Strings No.2, In G Minor, RV 439 'La Notte': lV. Largo (Il Sonno)
Concerto For Flute & Strings No.2, In G Minor, RV 439 'La Notte': V. Allergro
Concerto For Strings In G Minor, RV 153
Concerto In G Major 'Alla Rustica', RV151: l. Presto
Concerto In G Major 'Alla Rustica', RV151: ll. Adagio
Concerto In G Major 'Alla Rustica', RV151: lll. Allergro
Concerto For Four Violins And Cello, Op. 3, No.10

Tracks:

Brandoenburg Concerto No. 3, BWV 1048. l. Allergro
Brandoenburg Concerto No. 3, BWV 1048. ll. Adagio
Brandoenburg Concerto No. 3, BWV 1048. lll. Allegro
Brandoenburg Concerto No. 3, BWV 1048. l. Allegro
Brandoenburg Concerto No. 3, BWV 1048. ll Andente
Brandoenburg Concerto No. 3, BWV 1048. lll. Presto
Symphony No. 1 In G Major, Wq 182: l. Allegro Di Molto
Symphony No. 1 In G Major, Wq 182: ll. Poco Adagio
Symphony No. 1 In G Major, Wq 182: lll. Presto
Concerto For Two Voilins And Orchestra In D Minor, BWV1043: l. Vivace
Concerto For Two Voilins And Orchestra In D Minor, BWV1043: ll. Largo Ma Non Tanto
Concerto For Two Voilins And Orchestra In D Minor, BWV1043: lll. Allegro
Sinfonia From 'Christmas Oratorio
Concerto For Three Trumpets And Orchestra In D: l. Largo
Concerto For Three Trumpets And Orchestra In D: ll. Allegro
Concerto For Three Trumpets And Orchestra In D: lll. Adagio
Concerto For Three Trumpets And Orchestra In D: lV. Presto

Tracks:

Orchestral Suite No. 2 In B Minor, BWV 1067: l. Overture
Orchestral Suite No. 2 In B Minor, BWV 1067: ll. Rondeau
Orchestral Suite No. 2 In B Minor, BWV 1067: lll. Sarabande
Orchestral Suite No. 2 In B Minor, BWV 1067: lV. Bourree l - Bourree ll
Orchestral Suite No. 2 In B Minor, BWV 1067: V. Polonaise
Orchestral Suite No. 2 In B Minor, BWV 1067: Vl. Meneut
Orchestral Suite No. 2 In B Minor, BWV 1067: Vll. Badinerie
Orchestra Suite No.3 In B Minor, BWV 1068: l. Overture
Orchestra Suite No.3 In B Minor, BWV 1068: ll. Air
Orchestra Suite No.3 In B Minor, BWV 1068: lll. Gavotte l - Gavotte ll
Orchestra Suite No.3 In B Minor, BWV 1068: lV. Bourree
Orchestra Suite No.3 In B Minor, BWV 1068: V. Gigue
Concerto Grosso, Op. 8, No.6
Christmas Concerto: l. Vivace - Grace - Allegro
Christmas Concerto: ll. Adagio - Allegro - Adagio
Christmas Concerto: lll. Vivace
Christmas Concerto: lV. Allegro - Pastorale

Tracks:

Canon and Gigue (Add)
Arrival Of The Queen Of Sheba (Solomon) (Add)
Berenice
Overture No.3 in G (Add)
Chacony (Add)
Overture
Rondeau-Air-Air-Minuet
Air-Jig-Hornpipe-Air
Conc. 'Per Llautino' In C Major, RV 443 (Add) I Allegro
Conc. 'Per Llautino' In C Major, RV 443 (Add) II Largo
Conc. 'Per Llautino' In C Major, RV 443 (Add) III Allegro Molto
Music For The Royal Fireworks (Add) Overture
Music For The Royal Fireworks (Add) Bourree
Music For The Royal Fireworks (Add) La Paix
Music For The Royal Fireworks (Add) La Rejouissance
Music For The Royal Fireworks (Add) Menuet

Tracks:

Water Music-Horn Suite In F (Add)
Conc. For Two Trumpets And Strings RV 537 (Add) I Allegro
Conc. For Two Trumpets And Strings RV 537 (Add) II Largo
Conc. For Two Trumpets And Strings RV 537 (Add) III Allegro
Conc. For Oboe And Strings In D Minor (Add) I Andante E Spiccato
Conc. For Oboe And Strings In D Minor (Add) II Adagio
Conc. For Oboe And Strings In D Minor (Add) III Presto
Conc. A Due Cori, No 2. (DDD) I Pomposo
Conc. A Due Cori, No 2. (DDD) II Allegro
Conc. A Due Cori, No 2. (DDD) III A Tempo Guisto
Conc. A Due Cori, No 2. (DDD) IV Largo
Conc. A Due Cori, No 2. (DDD) V Allegro Ma Non Troppo
Conc. A Due Cori, No 2. (DDD) VI A Tempo Ordinario

Customer Reviews:

Amazing Collection, Amazing Ensemble!.......2006-03-30

This set is an absolute gem, and for two reasons: First, because it is so rare and hard to come across; Second, because the quality of the music is at such a high level. This 5 CD SET ought to be part of every collection of fine music. Christopher Hogwood is one of the finest conductors of Baroque music that I've ever heard. The included rendition of Corelli's "Christmas Concerto" is the best recording I'v heard. As well, this set includes the complete "Four Seasons," which, while not exceptional, are quite satisfactory. This is a must own set for high quality recording collectors.

highly recommended.......2004-07-18

highly recommended by antonio-vivaldi dot org along with Pinnock's version.

I enjoyed these CDs & would highly recommend their purchase........1998-11-19

A must have for anyone who enjoys Baroque Music!

Customer Reviews:

A "Do Not Buy!".......2006-03-28

I originally planned on giving this boxed set '2-stars', but decided to rate it with only 1 to offset any unrealistically high ratings. I was not pleased with these interpretations of both Bach's Brandenburgs and his Orchestral Suites. I am usually quite pleased with the work of Andrew Parrott, but not at all in this case. The Brandenburgs are played with too, too much zeal, almost with the same effect as with turning a music box's crank too quickly. The whole 4 CD set has a "squeeeky" quality to it. I think that the quality of Andrew Parrott ends with the works of J.S. Bach. He is excellent "from Monteverdi to Vivaldi" (The title of an exceptional boxed set of his), but not beyond. For both the Brandenburgs and the Orchestral Suites I give my highest recommendation to Christopher Hogwood.

Lots of attitude.......2005-04-26

This is a great recording - especially the Brandenburg #2 with its incorrigibly insouciant trumpeter. If you're looking for a technically correct version, this isn't it. The Trumpter hits a few sharp notes, but the sheer exuberance of his performance earns your forgiveness forthwith. Lovely lovely version of some of Bach's most beautiful music.

Vivaldi: The Orchestral Masterpieces, Vol. 1 [Exclusive Free Sampler Included]

Average customer rating:

Vivaldi: The Orchestral Masterpieces, Vol. 1 [Exclusive Free Sampler Included]

Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music