Pinnock’s performances of the Bach Harpsichord Concertos first appeared in 1981 and have dominated the catalog ever since. In the solo concertos he plays with real panache, his scholarship tempered with excellent musicianship." "The double, triple and quadruple concertos are digital, and the combination of period instruments and playing of determined vigour certainly makes a bold effect.
Immer wieder schicken sich Dirigenten aus der HIP-Szene an, Gesamtaufnahmen des erhaltenen Kantatenwerkes Johann Sebstian Bachs vorzulegen. Neben solchen, schnell die Aufmerksamkeit auf sich ziehenden Produktionen, die in der Regel aus dem Ausland stammen, gerät es immer mehr in Vergessenheit, dass es auch in Deutschland eine lebendige Bach-Tradition gibt und gab…Amazon.de
Originally recorded in stereo in 1978 and 1979 and released on two separate LPs, these performances of Bach's Orchestral Suites (also known as the Overtures) with Trevor Pinnock leading his English Consort were as good as it got at the time for period instrument performances. And this 2007 single-disc re-release does not change that assessment. The Consort's strings are dry but warm – check out the Air from the Third Suite – the winds are colorful and quirky – check out the Forlane from the First Suite – the brass is controlled but cutting – check out the Ouverture from the Fourth Suite – and the timpani is vivacious but thankfully not overwhelming – check out the Réjouissance, also from the Fourth Suite. Pinnock's conducting is almost universally light and lively, and when it's not in the Second Suite, it's because the music itself is dark and dreary. Although there are dozens of great performances of the suites to choose from, if you're only going to have one recording on the shelf, it should be Pinnock's.(James Leonard)
Hans Zimmer's score for Edward Zwick's samurai epic The Last Samurai mixes his own densely composed style with Japanese instruments and melodies, resulting in a brooding, atmospheric collection of music. Shakuhachi and other flutes, koto, and taiko drums make their presence known throughout the score, most effectively on compositions like "A Way of Life," which begins as a reflective duet for flute and strings before swelling into an ominous but majestic melody. "Spectres in the Fog" is another compelling mix of beauty and violence, starting with a delicate koto melody and rolling drums before crashing percussion and sawing strings turn the mood from bittersweet to battle-ready…
Hans Zimmer's melancholy yet romantic The House of the Spirits captures the magic realism of Isabel Allende's source novel with a clarity absent from the accompanying film adaptation. Accenting his brooding synthesizers and ghostly strings with elements of South American music, the composer brings to life the tragic downfall of an aristocratic Chilean family with uncommonly poignant precision. Zimmer confronts head-on the human suffering at the heart of the film, and at times his richly textured themes seem to marinate in sadness. He never stoops to heart-tugging pathos or histrionics, however, instead instilling The House of the Spirits with a dignity perfectly matched to its characters.
Hearing an album of Bach arias sung by a countertenor may not be essential for every listener. Many of the high arias from Bach's cantatas weren't the kind of operatic pieces that called for a muscular male voice comparable to those that have tackled Handel's arias in similar collections, and Bach, at least much of the time, wrote for female vocalists. If you enjoy countertenor singing, however, this release by Canadian singer Daniel Taylor may be the Bach album of choice.