Gustav Maria Leonhardt was one of the best-known leaders of the Early Music movement. A harpsichordist and organist and later a conductor, he was credited with being one of the most important figures in establishing the Netherlands as one of the main centers of period music performances. He had a classical education, then entered the Schola Cantorum in Basle. There he studied organ and harpsichord with Eduard Müller.
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.
Pianist, composer, and bandleader Keith Jarrett is one of the most prolific, innovative, and iconoclastic musicians to emerge from the late 20th century. As a pianist (though that is by no means the only instrument he plays) he literally changed the conversation in jazz by introducing an entirely new aesthetic regarding solo improvisation in concert. Though capable of playing in a wide variety of styles, Jarrett is deeply grounded in the jazz tradition.
One of the jazz world's most unique and influential pianists since the 1960's, Keith Jarrett is known for his breathtaking solos and stylistic diversity. Live At Open Theater East showcases Jarrett's magic fingers as they interpret a number of classic jazz standards. Keith Jarrett Trio - Live At Open Theater East movie Backed by talented jazz stars Gary Peacock and Jack DeJohnette, Jarrett's music is as beautiful and inspiring as the setting-an illuminated outdoor ampitheater.
These three sonatas - composed originally for the viola da gamba and harpsichord - are very musically-appealing compositions. And unlike previous Baroque cahmber-music tradition, the harpsichord is not relegated to mere continuo but projected into the spotlight as co-soloist - perhaps to showcase some of Bach's keyboard virtuosity. There are several fine period recordings of these works on viola da gamba and harpsichord (Savall, Peri, Crum, Wispelwey) or modern cello with harpsichord (Ma, Tortelier). But if your taste favors all modern instuments (cello, piano), then this circa-80's CD by the legendary Martha Argerich and Misha Maisky is the ticket.
If you have any doubt that the fipple flute is an acceptable substitute for the specified transverse one in these works, this recording could allay it. What is lost is the warm, intimate, breathy, pitch-bending sound of the minimally-keyed wooden instrument, but what is gained is the luculent clarity and (in Petri's hands) spot-on accuracy of the recorder. Instruments at period pitch (which for her own good reasons Petri does not use) would restore some of the warmth, but rarely can you have everything—and here you have so much to be grateful for.
A very different set than Teldec's Bach 2000. The Hanssler Bachakademie, supervised by Helmut Rilling, is not HIP (historic instruments performance). The orchestras are warm and lush (but not huge). The soloists are, in general, extraordinary. The tempos are sane. Hanssler has included fragments of some incomplete BWV's that are not included in the Teldec set; a minor plus but appealing. I found I preferred these traditional instruments and the daring using of forte-piano in place of harpsichord on a few of the recordings (flute sonatas). Highlights for me are The Well-Tempered Clavier Books 1 and 2, Musical Offering, Flute Sonatas, The Motets. I also found I prefer these Cantatas recordings to any other, including the new Koopman, Suzuki and the well-known Leonhart-Harnoncourt. While not the newest recordings, the sound is warmer which I prefer to the new state-of-the-art HIP recordings. Although most of the Cantatas are older recordings, much of the Hanssler Bachakademie edition is newly recorded for this project and the sound is consistent and excellent.
These two sonatas, originally written for clarinet, marked the end of an intense period of depression for Brahms, during which his creative energies had all but faded. Kim Kashkashian, whose command of the viola unearths an even deeper realm of possibility in this already engaging diptych, faithfully captures the somber circumstances of its creation. In doing so, she shows that the viola is no less an instrument of breath, drawing from deep within her lungs the sheer vocal power required to carry across such arresting music.