Bach: Triple Concerto, BWV 1044; Double Concerto, BWV 1060R; Harpsichord Concerto, BWV 1052, Music, Johann Sebastian Bach, Collegium Aureum, Barthold Kuijken, Bob Van Asperen, Gustav Leonhardt, Helmut Hucke, Franz Josef Maier, Chamber Music & Recitals, Classical, Classical Composers, Classical Music, Concerto, Concerto for Three Solo Instruments, Concerto for Two Solo Instruments, Keyboard Concerto
of J.S. Bach (8.508005). Since Amazon does not list the contents, I had better do so.
(1) Oboe Concertos 1055, 1056, 1059, 1053; (2) Violin Concertos 1041, 1042, 1052, 1043; (3) Harpsichord Concertos 1052, 1053, 1055, 1056; (4) Harpsichord Concertos 1054, 1058, 1064, 1063; (5) Harpsichord Concertos 1060, 1061, 1062, 1063; (6) Brandenburg Concertos 1046, 1047, 1048, 1051; (7) Brandenburg Concertos 1049, 1050. 1044, 1057; (8) Overtures (Suites) 1066, 1067, 1068, 1069.
The soloists are simply too numerous to list here, but the Cologne Chamber Orchestra under Helmut Muller-Bruhl is featured on all the discs.
Now let me make it clear that not one of these offerings can beat the best of what is available on higher priced recordings; but some of them come very close or are as good. So while experts in the Baroque period are bound to carp at this and that interpretation, the whole set is a terrific introduction to those who want to get to know their orchestral Bach and do not have many or any recordings of those works. The discs are available separately, of course, with catalogue numbers 8.554602 through 8.554609.
In fact, I can see this as a very thoughtful housewarming, birthday or graduation gift to someone who can still appreciate beautiful music.
Average customer rating:
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Bach: Triple Concerto, BWV 1044; Double Concerto, BWV 1060R; Harpsichord Concerto, BWV 1052
Manufacturer: Deutsche H-Mundi
ProductGroup: Music
Binding: Audio CD
 All Works by J.S. Bach
| Bach, Johann Sebastian
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ASIN: B00002587D
Release Date: 1995-08-10 |
Tracks:
- Allegro
- Adagio Ma Non Tanto E Dolce
- Alla Breve
- Double Concerto For Violin Obeoe- Strings And Continuo In C Minor- Allegro
- 2. Adagio
- 3. Allegro
- Concerto For Harpsichord- Strings And Continuo Bwv-1052- 1.Allegro
- 2. Adagio
- 3. Allegro
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
All Works by J.S. Bach
| Bach, Johann Sebastian
| ( B )
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Similar Items:
- Water Music / Fireworks Music / Concerti Grossi
- Beethoven: The Complete Symphonies and Piano Concertos
- Beethoven - The Complete String Quartets / Alban Berg Quartet
- Beethoven: Piano Trios; Violin & Cello Sonatas
- 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
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.
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:
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Bach 2000 Light (Without Sacred Cantatas)
Various Conductors , Various Performers , and Various Ensembles
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD
Allemandes
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ASIN: B00001IV8C
Release Date: 1999-09-21 |
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The Bach renaissance--which began in earnest in the early 19th century thanks to the efforts of Felix Mendelssohn and others--inspired an endeavor of far-reaching significance. It led to the founding of the Bach Society in 1850, with the goal of gathering and publishing the composer's complete works, and thus set into motion one of the great projects of musical scholarship. That effort has continued and been refined throughout the 20th century, ultimately influencing not only our perception of how to perform early music but fundamental ideas of musical history, evolution, and reception as well.
Teldec's mammoth Bach 2000 box set represents a kind of culmination of that original attempt to come to terms with Johann Sebastian Bach's unparalleled legacy. This set brings together performances recorded over the last several decades--a small percentage of the recordings are previously unreleased--of all the extant works determined by modern scholarship to be authentic. There are also some pieces the authorship of which is still in question and a few now deemed "inauthentic" but familiarly associated with the composer. Bach was a prodigious reviser of his compositions, and alternate versions of a particular work have been included "where the changes seemed sufficiently important," such as the glorious Magnificat. No doubt manuscripts will continue to be unearthed here and there in various archives (Bach 2000 contains, for example, the "Neumeister chorales," which were rediscovered in 1984), but the set does not represent the many fragments of music that consist of just a few bars; however, there are some reconstructions of lost concertos (such as one for three violins reconstructed by Christopher Hogwood from an extant concerto for harpsichords).
Of course a truly comprehensive recorded edition of every note Bach wrote remains a utopian impossibility--about one-third of his cantatas, for example, have not survived. Even so, the dimensions of Bach 2000 are staggering. With its 12 boxes comprising 153 CDs, the set can be compressed into fewer boxes to save shelf space yet is still about ten times as long as the Ring cycle. (It should be noted that the packaging--using thin cardboard sleeves for the CDs--is distinctively unattractive.) That adds up to just under 160 hours of music--but a lifetime of discovery. Each box (grouped according to genre) contains a booklet with excellent notes on individual works and--for all the choral works--texts and translations. Tracking indexes are useful and thorough. Also included is a profusely illustrated hardbound volume of 24 Inventions, in which journalist Wolfgang Sandberger uses the composer's biography as a peg for some enigmatic and fascinating musings on the meaning of Bach today.
The presiding philosophy behind this project and its approach to musical interpretation can be largely ascribed to Nikolaus Harnoncourt, a true musical pioneer and galvanizing force of the "period performance" movement. Harnoncourt's epoch-making recordings of the sacred cantatas (using, for instance, boy sopranos and choristers according to the practice in Bach's time) with the Concentus musicus Wien and colleague Gustav Leonhardt comprise the first four volumes here (those who already own them can turn to the Bach 2000 Light edition, which contains everything sans the cantatas). These recordings--which were not remastered for this set--have long been controversial and are notably uneven, embracing some magnificent accounts as well as others that lack fire and seem clearly underrehearsed. But Harnoncourt is one of the most fascinating conductors of our era, and his interpretations amply bear out his assertion: "I have never felt that Bach worked in a routine manner, that he repeated himself in his works." Harnoncourt--who has articulated many of his ideas in his book The Musical Dialogue--displays his gifts as a cellist in a remarkably probing performance of the Cello Suites (originally recorded in 1965) and in his concertizing for a number of chamber works. For\ the St. Matthew Passion, you get Harnoncourt's groundbreaking earlier account from 1970, while his 1986 recording of the sublime B Minor Mass is also represented here (the St. John Passion included is Harnoncourt's 1995 acount).
Other artists included are colleague Gustav Leonhardt, whose thoughtful if occasionally dry harpsichord artistry is heard in the Goldberg Variations as well as in the concertos and chamber music. The harpsichord is in fact used throughout in preference to piano for the keyboard works. Ton Koopman (himself the conductor of an ongoing complete cantata series and of the Easter Oratorio included here) performs the organ works, including some newly recorded offerings, while Il Giardino Armonico's well-known high-energy account represents the Brandenburg Concertos. Violinist Thomas Zehetmair is exceptionally compelling in the unaccompanied sonatas and partitas, and the Concentus musicus Wien--again under Harnoncourt--perform a superb Musical Offering that richly repays frequent listening.
The result of Bach 2000 as a whole is an aptly encyclopedic grappling with the infinite legacy of this most compendious of composers, whose works are on one level a summation of all the styles available to him. Bach was once thought to represent a "terminal point" (to use Albert Schweitzer's famous formulation), the end of an era; today he is at least equally recognized as a fertile source of inspiration for composers since. To be sure, individual recordings of particular works will be found to be preferable, and it would be misguided to consider Bach 2000 any kind of "final" or "definitive" word. Instead, it's an indispensable starting point that represents a monumental achievement for our own contemporary understanding of Bach. --Thomas May --This text refers to the complete edition of this title
Album Description
Volume 1, 11 Discs
Secular Cantatas App. Sacred Cantatas; 11 CDs; Koopman, Harnoncourt, Koopman, Goebel and others
Volume 2, 14 Discs
The Sacred Vocal Works Masses,Magnificat, Passions, Oratorios; 14 CDs; Harnoncourt, Koopman, Corboz and others
Volume 3, 7 Discs
The Motets, Chorales & Songs Kirnberger Chorales,Schemelli Songs, Quodlibet
Volume 4, 16 Discs
The Organ Works; 16 CDs; Ton Koopman
Volume 5, 11 Discs
The Keyboard Works (I) The Well-Tempered Clavier, English & French Suites, Partitas etc; 11 CDs; Curtis, Ross, Wilson, Ruzickova
Volume 6, 11 Discs
The Keyboard Works (II) Goldberg Variations, Toccatas, Fugues, Italian Concerto, etc; 11 CDs; Staier, Barchi, Leonhardt, von Asperen, Baumont, and others
Volume 7, 13 Discs
The Chamber Music Violin Sonatas & Partitas, Flute Sonatas, Works for Lute, Art of Fugue, Musical Offering, etc; 13 CDs; Harnoncourt, Pianca, Tachezi, Brggen, Zehetmair, and others
Volume 8, 10 Discs
The Orchestral Works The Concertos & Orchestral Suite; 10 CDs; Il Giardino Armonico, Harnoncourt, Leonhardt
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Bach: 250 Year Celebration (Box Set)
Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD
All Works by J.S. Bach
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ASIN: B0000DELDK
Release Date: 2004-01-01 |
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Bach: Orchestral Works
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD
All Works by J.S. Bach
| Bach, Johann Sebastian
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ASIN: B00002DF3I
Release Date: 2000-02-15 |
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