Listening to this irresistibly joyful and magnificently musical set of Bach's Brandenburg Concertos and Orchestral Suites, one is immediately struck by two thoughts. First, Masaaki Suzuki and the Bach Collegium Japan have been wasting their time concentrating on Bach's dour cantatas, and second, Bach himself was wasting his time writing his melancholy church music when he could have been composing infinitely more cheerful secular music. While Suzuki and his crew have turned in superlatively performed, if spectacularly severe recording of the cantatas, they sound just as virtuosic and vastly more comfortable here.
Winner of a Diapason d'Or and a Choc du Monde la Musique. The greatest recording of the organ works of Buxtehude by specialist Bernard Foccroulle, who uses five historic and modern instruments to shed a new light on the richness and variety of this repertory.
Dietrich Buxtehude is probably most familiar to modern classical music audiences as the man who inspired the young Johann Sebastian Bach to make a lengthy pilgrimage to Lubeck, Buxtehude's place of employment and residence for most of his life, just to hear Buxtehude play the organ. But Buxtehude was a major figure among German Baroque composers in his own right.
Although written for the configuration of two violins and continuo, Dietrich Buxtehude's Seven Sonatas, Op. 1, are not trio sonatas in the usual sense. They refer back to the older type of Italian ensemble sonata, with contrasting short sections following in rapid succession rather than the three- or four-movement sonata or dance suite types. Buxtehude came at the end of this tradition, which by 1694, when these sonatas were first published, was beginning to give way to newer Italian types in points further south.
This is a genuinely heart warming recital of chamber music from the latter part of the 17th century by the north German masters Johann Adam Reinken and Dietrich Buxtehude, both among the influences on the young J.S. Bach. The two were great friends and shared compositional tastes. Melody is not the issue here, neither is the extroverted passion of Italian composers of the period. This is more the animated conversation of friends sitting around the fire discussing various topics after a good meal.
Dietrich Buxtehude (c.1637–1707) spent his career working as an organist in churches, but was also a prolific composer of secular instrumental music and wrote far more for harpsichord than most composers of his era. Buxtehude’s position in Lübeck and fame as an organist brought him into contact with many of the greatest musicians of his day, and his style demonstrates the variety of musical influences that he was exposed to, particularly from German and Italian repertoire, which he combined to create a unique personal style.
The orchestral suites on this enchanting new disc of Telemann are beautiful works, considered by some as the most difficult pieces Telemann wrote for recorder and oboe. The music fascinates from the first to the last note with its originality and this is due to its Polish inflection. Telemann once wrote "a Polish tune makes the whole world jig."
South African soloist Carin van Heerden is a founding member of the Austrian L'Orfeo Baroque Orchestra and performs with this orchestra regularly. Various CD's with this orchestra have been released on CPO and have brought international acclaim.
This 35 disc set is jam packed with thrilling, beautiful - and superbly recorded - music.
Tchaikovsky's "Big Three" are very well represented here. Dutoit's lushly lyrical and dramatic "Swan Lake", Bonynge's affectionate and inspired "Sleeping Beauty" (listen out for grumpy Carabosse's distant thunder rumbling in the Act II Symphonic Entr'acte!) and a version of "The Nutcracker" - Bychkov and the Berlin Philharmonic, which is brilliant, full of character and sparkle.