No doubt many of you are wondering whether I should be recording Bach’s complete sonatas and partitas at the age of only 21. Perhaps I should have waited a bit longer? Well, patience has seldom been my strong point, and after all I have already waited a number of years for an opportunity to record these works. During the first six years of study with my teacher Ana Chumachenco, I studied the sonatas and partitas thoroughly, and first performed both cycles in their entirety in the Bach year 2000, during the course of two evenings at the Mecklenburg-Vorpommern Festival.
Karl Richter’s recordings of Bach’s orchestral and sacred music influenced an entire generation of musicians and listeners, presenting the conductor’s unique sound and style. When Richter recorded Bach’s works, he freed them from a ponderous tradition that had mired the music in romantic sounds and idiom. Richter lightened Bach’s music, and, with an orchestra of outstanding musicians, helped bring it toward the more modern interpretations that listeners have become familiar with today. This is still a bit far from the historically-informed performances that are pretty much the norm, but there is a unity and natural originality that comes through the music in these recordings.
"…clear diction and outstandingly responsive singing throughout is the biggest single asset of the performance. Superbly dynamic the set is obligatory for all committed Bachians." ~Fanfare
“clear diction and outstandingly responsive singing throughout is the biggest single asset of the performance. Superbly dynamic the set is obligatory for all committed Bachians.” (Fanfare)