It is 22 years since Savall and Koopman first recorded the Bach gamba sonatas, in the days when Koopman still looked like he should have been presenting The Old Grey Whistle Test. This release for Savall's own Alia Vox label, however, is right up to date, a tame-haired Koopman and an amazingly unaltered Savall having set them down at the beginning of this year. The recording's quick turnaround is a fitting reflection of the state of the musical relationship that has obtained between these two ever since they first performed together in 1970 after only half an hour's rehearsal. Make no mistake, these Bach performances are right in the slot.
The Ensemble Pygmalion directed by Raphaël Pichon commences its collaboration with Harmonia Mundi with this new recording of J.S. Bach’s lost music to the Köthener Trauermusik (Cöthen funeral music), BWV 244a. Founded in 2006 at the European Bach Festival, Ensemble Pygmalion is a combination of choir and orchestra - all young performers with experience of authentic instruments and period-informed performance. Its repertoire concentrates primarily on Johann Sebastian Bach and Jean-Philippe Rameau.
Tilman Hoppstock is one of Germany’s most famous guitar players and the work of Bach stands in his focus for a long time: His research of over 30 years culminated in the publication of two book titles and his musicological edition is considered today a standard work by nearly all guitarists who occupy themselves with Bach. In 2013 he earned the doctor’s degree for his research on Bach. The Six Suites for solo cello are nowadays performed on a wide range of instruments and Tilman Hoppstock has adapted the Suites Nos. 1, 2 and 5 for his instrument the guitar. His large knowledge of the contrapunctal technique of Bach combined with his stupendous virtuosity on the guitar resulted in a recording of great musicality and sensibility. © Christophorus
This performance of Bach's St. Matthew Passion is sung in English and played on modern instrument. If that bothers you, don't bother checking out this recording. If it doesn't bother you, and you like the idea of a heartrending, awe-inspiring, and profoundly moving performance of Bach's sacred dramatic masterpiece, by all means, try this recording. David Willcocks, the dean of English choral conductors, leads the combined forces of the Bach Choir, the Boys' Choir of St. Paul's Cathedral, and the Thames Chamber Orchestra along with six A-list British soloists in a deeply human, intensely spiritual, and amazingly dramatic performance of the work.
Listeners familiar with any of Masaaki Suzuki's many Bach recordings for BIS are likely to know what to expect from his recording of the Well-Tempered Klavier Book II: immaculate playing, impeccable taste, and immediate sound. Perhaps best-known internationally for his series of recordings of Bach's cantatas and other sacred works, Suzuki started his career as a superlative keyboard player, and as his performance here on the harpsichord demonstrates, he has kept his skills well-honed.
While one might reasonably prefer this, that or the other recording of Bach's "Goldberg" Variations, one should still take the time to listen to this 1997 recording of the work played on the harpsichord by Masaaki Suzuki on BIS. For one thing, Suzuki is the conductor of BIS' series of Bach Cantata recordings and it is interesting to hear what he can do on his own without other musicians as intermediaries.
Following his magnificent recording of J.S. Bach's Inventions and Sinfonias for BIS last year, the Japanese harpsichordist/organist/conductor Masaaki Suzuki here offers more revelatory performances of some of Bach's equally well known (as well as some lesser known) masterpieces. With this collection, simply titled Fantasias & Fugues, Suzuki provides a grand overview of Bach's lifelong sporadic exploration of the Fantasia genre.