From the irresitably forceful opening bars of the English Suite's prelude to the throbbing repeated octaves of the D minor concerto, Richter shows why many of Bach's works are ideally suited to the piano. The Bach concerto is often regarded as a student piece, or relegated to refined performances on the harpsichord. Not here – the bookend movements are as maniacal, pulsing and driving as the best of John Coltrane or Prokofiev. The CD is worth it just for those movements, but Richter's treatment of the English Suite is equally enlightening, especially the Prelude and Gavotte.
"…The playing of the Retrospect Ensemble is spot-on from beginning to end. Tempos are brisk but not pressed to the point that compromises articulation or unanimity of bowing and fingering, and the readings are buoyant, energetic, and fresh-sounding. Complemented by Linn's wonderfully clear and transparent multichannel recording, Bach's music shines." ~Fanfare
“The various members of Musica Alta Ripa give the work a driving, tense performance that rightly underlines the music's agitation and sense of menace. In fact, these musicians characterize all four concertos extremely well, and even manage to maintain a certain amount of clarity in the unavoidably clanging C major concerto for three harpsichords, BWV 1064. In sum, this is an excellent continuation of an excellent series of recordings.”
The Collegium Aureum, a loose association of soloists and conservatory teachers, was founded in 1962 by the Freiburg (Germany) based record company Harmonia Mundi. From the very beginning the ensemble has dedicated itself to the meritorious task of reviving historical performance practices in order to convey an impression of the music’s authentic sound. This “resurrected court orchestra” plays works of the Baroque, the Classical, as well as the Romantic periods on historical instruments.
American composer, conductor and educator, Lukas Foss, has contributed profoundly to the circulation and appreciation of music from the 20th century. He began his musical studies in Berlin, where he studied piano and theory with Julius Goldstein (Herford). Goldstein introduced Foss to the music of Bach, Mozart and Beethoven, which proved to have a profound effect on Foss's musical development. In 1933, Foss went to Paris, where he studied piano with Lazare Levy, as well as composition with Noel Gallon, orchestration with Felix Wolfes and flute with Marcel Moyse. Foss remained in Paris until 1937, when he moved, with his family, to the United States, where he continued his musical instruction at the Curtis Institute of Music in Philadelphia. In addition to his Curtis studies, Foss studied conducting with Koussevitzky during the summers from 1939 to 1943 at the Berkshire Music Center. He also studied composition with Paul Hindemith as a special student at Yale from 1939 to 1940...Lukas Foss on Napster
BOB VAN ASPEREN born in Amsterdam in 1947, Bob van Asperen studied harpsichord and organ with Gustav Leonhardt and Albert de Klerk at the Conservatory there, studies he finished in 1972 by obtaining the soloist diploma ‘cum laude’. His career, since then, has taken him to all European countries, the United States of America, Canada, Australia and Japan, with harpsichord, organ and clavichord recitals and collaboration with Anner Bylsma, Bart Kuijken, Klaus Mertens, Lucy van Dael, and Thomas Pietsch, among others. He also conducts baroque ensembles and orchestras, including the Orchestra of the Age of Enlightenment, the European Union Baroque Orchestra, l’Orchestra della Toscana and the Collegium Vocale Gent…