"His interpretation of appoggiaturas in the Aria is likely to raise a few eyebrows, and not everyone will like the adoption of a chirpy and most unmajestic staccato in the French overture. But I do hope he does not lose the pertness he shows in Var. 27 and the crisp humour of his Var. 22; and the extra embellishments he allows himself on repeats are remembering Koopman's distractingly fussy ornaments on Erato/RCA) neat and natural-sounding." Grammophone, October 1989
The sound world of Bach’s last great Mass has changed radically in recent decades; one-to-a-part performance practice is, as conductor Lars Ulrik Mortensen puts it, “changing our entire notion of Bach’s acoustic universe”. This bold claim is amply proven in an account of dazzling transparency, dance-like rhythms and utter clarity. Sometimes the balance seems not quite right, for example when organ continuo dominates, but some superb ensemble numbers pit voices against virtuosic instruments so each seems to outdo the other in joyous exuberance. The five soloists complement each other well, and the addition of just five extra singers is all that is needed to explode Bach’s universal vision into life.
This is a really great five-CD set. You get all of Bach's concertos except the Brandenburgs - which is a shame because Pinnock's Brandenburgs are terrific. Nonetheless, this remains an absolutely cracking collection of some of Bach's most enjoyable music in excellent performances. In the Harpsichord Concertos Pinnock is himself the soloist and shows why he is such a very well-liked and highly regarded musician. The music springs to life under his fingers (and under his direction) and many of these performances set new and enduring standards when first released in the early 1980s. They have informed much subsequent Bach playing and have worn extremely well themselves, sounding as fresh and involving as they did nearly 30 years ago. He is joined by other fine harpsichordists in the concerti for two, three and four harpsichords, (Kenneth Gilbert, Nicholas Kraemer and Lars Ulrich Mortensen) and the Concerto for Four Harpsichords in particular is an absolute joy.
Johann Sebastian Bach's majestic Cello Suites are among the world's best-loved pieces of music - but did another Bach write them? Australian musical sleuth Martin Jarvis explosively claims the suites were composed not by Bach, but by his much-loved second wife, Anna Magdalena. Jarvis's controversial quest for clues takes him from London to Paris to Berlin and beyond. Using advanced techniques of forensic document examination and drawing on his vast experience as a conductor and musician, he sets out to uncover the truth of the Cello Suites and rewrite some musical wrongs.
Brilliant composer and organist Johann Sebastian Bach completes the long journey from his home in Leipzig to Potsdam.
Partenope wasn't a success upon its premiere in 1730. It doesn't have the drama of Giulio Cesare or Serse or the magic of Alcina or Orlando. But this sophisticated comedy has recently come into its own. Sigiswald Kuijken and La Petite Bande kicked off the revival with a path-breaking audio recording in 1979. Since 1998 it has been a staple of the repertory at the New York City Opera. This wonderful DVD from Copenhagen's Royal Theater will solidify Partenope's modern reputation…