Two masses, a handful of motets, and two chansons are all that remains of the oeuvre of a composer regarded by the theorist Johannes Tictoris as one of the most important of his generation. The Clerks' Group's expertise in the 15th-century repertoire has received many accolades. Here, the group once again displays its exceptional competence in the service of the outstanding works by one of the period's most original composers.
There are many, many good things about Andrew Parrott and the Taverner Consort and Players' Bach performances – their luminous colors, complete clarity, utter lucidity, and structural integrity – that there is an uneasy feeling in criticizing them for their occasional flaws. When Parrott's Bach is good, it is as great as any that has been recorded in the past 20 years. It's as great as Leonhardt's, Koopman's, or Herreweghe's, and far better than Gardiner's, Harnoncourt's, or Rilling's. And Parrott's Bach is so great in the great pieces – so great in the overwhelming dramatic intensity of the close of his Saint John Passion and so great in the mystery, agony, and ecstasy of the central choral triptych in his Mass in B minor – that his performances seem very, very great indeed.(James Leonard)
This 55-CD set chronicles the remarkable Archiv label, begun in 1947. Devoted mainly to early and Baroque music, the recordings presented here, in facsimiles of their original sleeves (a nice touch), cover the period from Gregorian chant to Beethoven’s Fifth and Sixth symphonies, played on period instruments. There are stops in between for a great deal of Bach, music of the Gothic era, the French Baroque (Mouret, Delalande, Rameau, etc), Gibbons, Handel (Alcina, La Resurrezione, Messiah, Italian cantatas), Telemann, Zelenka, Gabrieli, Desprez, Haydn, LeJeune, and plenty of the usual, as well as unusual, suspects. There’s also a final CD with selections of new releases (more Handel, Cavalli, Gesualdo, Vivaldi).