This set includes two of the rarest and hardest to find of all recordings: the 1958-59 version of the Bach Cello Suites by Janos Starker – the one everyone says his later recordings cannot match – and the extremely beautiful performance of Bach's unaccompanied violin sonatas and partitas – the one that Japanese collectors pay 3-digit dollar prices for – in outstanding EMI Digital Re-Masterings.
The music of Bach's 'St. John Passion', which the composer wrote for Holy Week in 1724 immediately after his appointment as cantor of St Thomas's Church in Leipzig, still retains all its freshness and vitality nearly 300 years later, and is a true Baroque delight. The two main choruses Herr, unser Herrscher and Ruht wohl, ihr heiligen Gebeine form the beginning and culmination of a large-scale orchestral and vocal structure in which Bach reveals his absolute mastery of polyphony. Inwardly reflective chorales are as much interwoven into the events of the Passion as the haunting arias which comment on the biblical texts of the Gospel of St John. Throughout this solemn Passion oratorio, there is a constant emphasis on Baroque musical magnificence. What makes this live recording of the concert version of March 7, 2015 in the Herkulessaal of the Munich Residenz so special? The fresh voices of the young and excellent vocal soloists, the regularly praised "astonishing three-dimensionality" and "crystalline clarity" of the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra and, of course, the renowned period instrument ensemble Concerto Köln.
Only months after Deutsche Grammophon released Anne-Sophie Mutter's recording of Bach's violin concertos, Decca released Julia Fischer's recording of the same pieces. The similarities between the two discs run deeper than merely their shared repertoire. Both labels are branches of Universal Music Group and both violinists are individualistic German women, though Mutter is currently at the peak of her career while Fischer is just a bit past starting out. The differences, however, are likewise remarkable. The Deutsche Grammophon disc includes the world premiere of a new work by Sofia Gubaidulina dedicated to the violinist, while the Decca disc includes the more conventional coupling of Bach's Concerto for violin and oboe in C minor, BWV 1060.
This is a glorious disc. Simply glorious. Anderszewski and Bach have long been congenial bedfellows and the Pole’s playing here is compelling on many different levels. To start with, there’s the sense of sharing the sheer physical thrill of Bach’s keyboard-writing. This is particularly evident in faster movements such as the fierce and brilliant fugal Gigue that concludes the Third Suite, or, in the E minor Fifth Suite, the extended fugal Prelude and the outer sections of its Passepied I. Common to all is a sense of being fleet but never breathless, with time enough for textures to tell.
The Amsterdam Bach Soloists comprise an ensemble of ten or so musicians. They play modern instruments but base their musical approach on ''an undogmatic use of authentic interpreting practice, so that the rich potentialities of the modern instruments can be combined with the baroque way of performing, which is in keeping with the accomplishments of Nikolaus Harnoncourt with the Concertgebouw Orchestra''. Most of the players are, in fact, drawn from the Concertgebouw, though there are some from Frans Bruggen's Orchestra of the Eighteenth Century. Nowadays Bach's didactic but very beautiful The Art of Fugue, is widely regarded as a work for solo harpsichord. Bach himself left no precise indication concerning instrumentation but the music was engraved in open score which places each individual voice or strand of the texture on a separate stave. This practice was not uncommon in contrapuntal keyboard works and is one of several features pointing towards the solo harpsichord as being Bach's most likely intention. Nevertheless, since 1924, when the Swiss musician Wolfgang Graeser set the canons and fugues for various combinations of instruments, the practice of performing The Art of Fugue with a mixed ensemble has remained popular.