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 present release is the second solo album of the young German guitarist Elise Neumann. She chose to combine two seemingly different composers on this album: J.S. Bach and Mario Castelnuevo-Tedesco. While at first one might have difficulty drawing a connection between the two composers, they are alike in their compositional forms. Like J.S. Bach, Castelnuevo-Tedesco wrote music in the form of the suite, but his musical ideas are completely different. Elise Neumann plays with her acclaimed warm and soulful tone on a rare instrument built by the luthier Daniel Friederich in 1969. On this recording, instrument and player form a perfect team, establishing a most natural, effortless and deeply musical interpretation of these well-known works.
More than just a challenge to orthodoxy.. . Why should music ‘before Mozart’ now be the sole preserve of period-instrument orchestras? For some years now, Ensemble Resonanz has challenged this idea, without ever neglecting the notion of the sheer pleasure to be derived from the concertos and symphonies of the great C. P. E. Bach. Like their guest soloist Jean-Guihen Queyras, all the musicians master both styles of playing (on metal or gut strings) with dazzling virtuosity. This is the first disc on harmonia mundi to celebrate their collaboration with maestro Riccardo Minasi.
French saxophonist Raphael Imbert dangles this tantalizing lure on Bach: Coltrane, which the multi-hornman promotes as the culmination of a research project into the sacred elements of jazz. For the album, a jazz quintet joins the classical Manfred Quartet "to demonstrate the spiritual and musical ties between Bach and Coltrane by following the thread of the Lutheran liturgy that links the Kantor's music, the Negro spiritual, and certain themes written by John Coltrane."
Imagined as a concert that Bach could have instigated, this disc explores the Cantor ‘s art of transcription and reveals the wealth of influences which the Germanic empire was exposed to in the first half of the eighteenth century. Going back and forth between fantasy and counterpoint, between German and Italian styles, Bach makes these forms and styles his own and thus plays with the rich sound pallets of the viola da gamba and the harpsichord. This album is the first recorded by two rising stars whose tremendous energy and complicity has conferred greater depth to this concert.
Violinist Rachel Barton Pine and harpsichordist Jory Vinikour, critically acclaimed artists of interntional renown- and also close friends-record together for the first time on this album of J.S. Bach's complete sonatas for violin and harpsichord. The artists approach these works as Bach intended: as trio sonatas with equally important roles for the violin and the harpsichord's treble and bass lines. In addition to the six Sonatas, the album offers the remarkable and ravishingly poetic Cantabile, BWV 1019a, a free-standing work that Bach originally conceived as a movement of the Sonata, BWV 1019. Cedille's audiophile engineering and the intimate acoustics of Evanston, Illinois' Nichols Hall allow the complex trio textures to blossom with detail. In all, the album sets a new standard for a body of work that Bach's son, CPE, considered among his father's finest compositions. Rachel Barton Pine is a Billboard chart-topping artist.
The versatility of the suite form proved well suited to Johann Sebastian Bach in his instrumental works, and the English Suites are no exception. These are distinct from Bach’s other suites with their quasi-improvisatory opening Preludes, and further movements encompassing a wide range of moods and styles from lively dances to the pensive intensity of the slow Sarabandes. The Montenegrin Guitar Duo’s fresh and historically informed performances of these works have been acclaimed as “simply ravishing” (American Record Guide). The Montenegrin Guitar Duo is frequently invited to venues such as the Philharmonia Hall in Saint Petersburg, Manuel de Falla Hall in Madrid, and the Concertgebouw, Amsterdam. International festivals regularly engage the duo to give recitals, deliver lectures and masterclasses, and adjudicate major competitions. In 2013 their debut album was released by the Montenegrin Music Centre, featuring works by Domeniconi, Piazzolla and Bogdanovic. The first of their two volumes of Bach’s English Suites was released in 2015 and received excellent reviews.
Pianist Jacques Loussier has spent much of his career performing Bach melodies with his jazz group. Loussier's Play Bach Trio was quite popular during 1959-1978. After a few years off, he formed a new trio along similar lines in 1985, the group heard on this CD. Although jazz and classical music have been combined together in many different ways through the years, no combo has worked harder at swinging Bach than Loussier's units. The pianist pays respect to Bach's melodies before swinging them and his improvisations are a natural outgrowth of the themes. This CD gives listeners an excellent example of his concept and is a constant delight.