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.
"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
Bach’s Goldberg Variations have played a central role in harpsichordist Pierre Hantai’s musical life since his early youth. At 28 he recorded the work for the Opus 111 label (now available on Naïve), a highly acclaimed release that stands among the work’s choice versions. Over the past 11 years Hantai evidently has rethought and refined his interpretation, as revealed in this 2003 remake. There’s greater rhythmic freedom and variety of articulation, plus a more subjective approach to ornaments and agogics, especially in the repeats (he observes all but those in Variation 15, 25, and the Aria Da Capo; the 1992 recording honors all repeats save for Variation 25). Variations previously characterized through Hantai’s seamless legato technique (Nos. 3, 6, 8, 11, 17, and 18, for example) are further enlivened by detaché finger strokes and more inflected phrasings. The latter infuse Variations 7, 10, and 16 with greater resilience and rhythmic verve than their earlier counterparts.
After recording the complete solo fortepiano works of Haydn, it was inevitable that Ronald Brautigam would record the complete fortepiano concertos of Haydn. Of course, it helps that while Haydn's complete solo fortepiano works take up 11 discs, his complete fortepiano concertos take up only a single disc, so Brautigam could record it before moving on to record the inevitable complete fortepiano music of Beethoven. On its own, Brautigam's recording of Haydn's concertos is wonderful: light, bright, ebullient, full of humanity, and suffused with poetry. Brautigam's tone is clear but ringing, his touch is graceful but powerful, his interpretations characterful but self-effacing.
Karl Richter leads a star line-up of soloists including Gundula Janowitz and Hermann Prey in Bach's enduring В minor Mass, a majestic work that showcases Bach's supreme craftsmanship and skill as a choral composer.