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131.Brendel plays Bach from: Originals September 11, 2006
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132.PDQ Bach: 1712 Overture and Other Musical Assaults from: Bmg April 04, 2001
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133.Bach - The Keyboard Concertos, Vol 2 by: Australian Chamber Orchestra, Richard Tognetti May 16, 2005
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Sometimes it is hard to decribe exactly what truly makes a great performance, but when many elements come together so splendidly as they do here, you immediately recognize it. These concertos are superb in every aspect - from Ms. Hewitt's delightful and poised articulations to the beautiful orchestral compliment to the excellent Hyperion-engineered sound. A few listens of these reveal why Ms. Hewitt chose the Australian Chamber Orchestra after playing these works for many months with several orchestras around the world. Their style and judgment are always in pefect compliment to her playing - never overwhelming or underwhelming her gorgeous lines - and bring out a wonderful chamber-like interaction that is a delight to hear unfold. There ... Read More:

134.Bach, J.S.: The Organ Works by: Peter Hurford November 20, 1995
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I grew up on Helmut Walsha, then on to Ton Koopman on Novalis. Then I realised I ought to expand my collection. This box set arrived, and I cranked up the tubes and sat back. I have to say it was a shock. Initially I was a bit disappointed. The timing was quite different, the pieces I thought I knew so well were lighter, more airy. I listened on and into the night, and found my initial reaction was unfounded. Peter Hurford has, I truly believe, got to the heart of this music, the detail is remarkable, the playing so natural, the emotion just pours out of the speakers. Treble details flows out across the room like I have never heard, and the big pipes rumble beneath the set, and all retaining a remarkable church acoustic. Forget all ... Read More:

135.Bach: Ich habe viel Bekümmernis - Cantatas BWV 21, 42 /Herreweghe by: La Chapelle Royale, Barbara Schlick April 15, 2002
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This recording has won many awards and rightly deserves them. It is a truly magnificent reading at every level.

136.Bach, J.S.: The Art of Fugue - Emerson String Quartet by: Emerson String Quartet October 06, 2003
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The number of reviews given here makes another from me superfluous but I should like to take issue with David Bryson's acerbic judgment on the ending of the work. Essentially, the Art of Fugue is a cerebral exercise which can be produced on most keyboards or combination of instruments. On the other hand, it's workings can be fully realised from the score without recourse to any instruments at all. Generally speaking, I am in accord with Mr Bryson regarding "emotion" - it has no place in the consideration of this work. Nevertheless, in this particular instance I feel an exception is required in respect of the ending (although it does not concern the music, per se). I am not a particular fan of this quartet but having enjoyed ... Read More:

137.Rummel - Bach Piano Transcriptions, Vol 6 by: Jonathan Plowright February 27, 2006
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The number of reviews given here makes another from me superfluous but I should like to take issue with David Bryson's acerbic judgment on the ending of the work. Essentially, the Art of Fugue is a cerebral exercise which can be produced on most keyboards or combination of instruments. On the other hand, it's workings can be fully realised from the score without recourse to any instruments at all. Generally speaking, I am in accord with Mr Bryson regarding "emotion" - it has no place in the consideration of this work. Nevertheless, in this particular instance I feel an exception is required in respect of the ending (although it does not concern the music, per se). I am not a particular fan of this quartet but having enjoyed ... Read More:

138.Bach - Brandenburg Concertos Nos 1 - 6 from: Elatus September 13, 2004
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The number of reviews given here makes another from me superfluous but I should like to take issue with David Bryson's acerbic judgment on the ending of the work. Essentially, the Art of Fugue is a cerebral exercise which can be produced on most keyboards or combination of instruments. On the other hand, it's workings can be fully realised from the score without recourse to any instruments at all. Generally speaking, I am in accord with Mr Bryson regarding "emotion" - it has no place in the consideration of this work. Nevertheless, in this particular instance I feel an exception is required in respect of the ending (although it does not concern the music, per se). I am not a particular fan of this quartet but having enjoyed ... Read More:

139.Bach: St John Passion from: Double Decca March 14, 1995
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The Penguin guide accords this set a Rosette, and previous reviewers on amazon have been very positive. However, I would counsel caution before buying. I agree with the reviewer who mentions intonation problems with the boys choir. More generally, with the reverberant acoustic and large forces, in many contrapuntal choral passages the different musical lines become obscured and muddied - it becomes impossible to hear even a distinct pitch, let alone words, when there are fast semi-quaver's etc. Peter Pears, of course, divides tastes - a love or loathe kind of tenor. Personally I'm a fan, and his contribution is strong. The biggest problem with this set is the other solo tenor, Robert Tear. Tear has the worst kind of wobbly wide-vibratoed ... Read More:

140.Bach: Cantatas for solo bass (BWV 82, 56, 158) /Kooy · Herreweghe from: Musique D'abord May 14, 2001
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The most famous work on this disc is, of course, the moving and profound 'Ich habe genug' (or 'genung', if you prefer this variant). It is performed here in its original version written in 1727 for bass and choir (in c) and features oboe obbligato. (But annoyingly, the notes don't tell us whether it's the standard C18 oboe or the oboe da caccia, specified by Bach in the late 1740s. I assume it's a Baroque oboe here.) Peter Kooy is a superb solo bass and, equally praiseworthy, Marcel Ponseele features as oboist. Tonal hues are appropriately dark, with double bass and organ providing the lower layers in what is, after all, a cantata in which the soul looks forward to departing the world after a toilsome life. To my mind, this bass version seems to offer a more ... Read More:

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