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141.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 ... Read More:

142.J. C. Bach - Sinfonias and Piano Concertos by: Academy of St Martin in the Fields October 01, 1999
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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 ... Read More:

143.J.S. Bach: Cantatas BWV 72; 73; 111; 156 by: English Baroque Soloists John Eliot Gardiner May 22, 2000
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It should give any would-be reviewer pause (if he is alive to the fallibility of his own judgment) to find that when he is about to post a highly favourable notice of this disc there has been another assessment at about the time the disc was first issued (2000) which takes entirely the opposite view. The general background is this. The year 2000 marked the 250th anniversary of Bach's death, and in that year Gardiner and his colleagues undertook the project of recording all Bach's cantatas on the liturgical dates for which Bach composed them. The thought of that has me terrified, until I think of the stupefying achievement of the composer himself. So far as I know, the entire series of recordings is now available, and my collection of ... Read More:

144.Bach: Brandenburg Concertos 1-6 from: Double Decca November 10, 1997
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This set of Brandenburg concerti is based upon the original Cothen edition, and not the more often recorded final version which Bach sent to the Margrave of Brandenburg in 1721. The main difference between the two versions is that the Cothen edition, being an early draft, does not have a polonaise in the first concerto and lacks the extended solo Harpsichord cadenza in the fifth. For me, the famous virtuosic cadenza is one of the highlights of the set and its omission here should be noted and regretted. That being said, as a rare and sterling presentation of the Cothen edition this set is of great interest.

145.Stokowski - Bach Transcriptions from: Naxos September 04, 2006
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As a ten-year-old piano student I learned the piano transcription of Bach's 'Little' G Minor Fugue for organ done by Olga Samaroff. One day my teacher asked, 'Would you like to hear what Madame Samaroff's husband has done with this fugue? He set it for full orchestra.' When she played a 78rpm recording of Stokowski's transcription I knew I'd entered an entirely delightful world. I bought my own record and played it until the grooves were worn down. I had the temerity, though, to ask my teacher if, when I performed the fugue, I should slow down at the climax like Stokowski did and she explained the difference between a keyboard and an orchestral climax, and said something about Stokowski 'taking liberties' on that account. 'It really works, doesn't ... Read More:

146.J. S. Bach: Mass in B minor by: Hertha Topper, Ernst Haefliger, Dietrich Fischer-Dieskau, Kieth Engen, Karl Richter February 13, 2004
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Karl Richter's interpretations of music by Bach have made something of a come back in recent years and this recording shows why. Carefully atriculated singing from the choir and excellent playing from the orchestra. There is a great sense of perfection about this performance which seems thoughtfully paced and yet fully exciting. It seems as if every note and rhythm has been crafted to produce an almost faultless performance. The choruses in particular shine through with some fantastically focused and bright singing. In particular, the end of the creed and the following sanctus and osanna build towards a powerfull climax. Even if you like your Bach performed on original instruments you will enjoy this performance which has become one of my favourite ... Read More:

147.Bach - Organ Works Vol 4 by: Johann Sebastian Bach June 02, 2008
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Karl Richter's interpretations of music by Bach have made something of a come back in recent years and this recording shows why. Carefully atriculated singing from the choir and excellent playing from the orchestra. There is a great sense of perfection about this performance which seems thoughtfully paced and yet fully exciting. It seems as if every note and rhythm has been crafted to produce an almost faultless performance. The choruses in particular shine through with some fantastically focused and bright singing. In particular, the end of the creed and the following sanctus and osanna build towards a powerfull climax. Even if you like your Bach performed on original instruments you will enjoy this performance which has become one of my favourite ... Read More:

148.Bach - St Matthew Passion by: Júlia Hamari September 24, 2007
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Karl Richter's interpretations of music by Bach have made something of a come back in recent years and this recording shows why. Carefully atriculated singing from the choir and excellent playing from the orchestra. There is a great sense of perfection about this performance which seems thoughtfully paced and yet fully exciting. It seems as if every note and rhythm has been crafted to produce an almost faultless performance. The choruses in particular shine through with some fantastically focused and bright singing. In particular, the end of the creed and the following sanctus and osanna build towards a powerfull climax. Even if you like your Bach performed on original instruments you will enjoy this performance which has become one of my favourite ... Read More:

149.Bach: Cantatas [2000] starring: Magdalena Kozena, William Towers, Mark Padmore, Stephan Loges, The Monteverdi Choir October 01, 2001
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On the strength of this, I hope that all the Gardiner cantatas are released in CD form. These are wonderful performances, with the added bonus of a documentary of the Pilgrimage, culminating in the marvellous final chorus of the New Year cantata BWV190 in New York of the sadly-altered skyline. As one previous reviewer said, at the end of the road for the Pilgrimage, the burden rises visibly from JEG. I can't add to what the previous reviewers said, except to say that I disagree with the reviewer who didn't like Magdalena Kozena's performance of BWV199. This is not opera, and therefore it seems to me that the singer is not necessarily supposed to agonise appropriately over the words. Was proper emotion to be found in the words as sung? To ... Read More:

150.Bach: Brandenburg Concertos by: Academy of St. Martin in the Fields Neville Marriner September 10, 2001
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This is a most enjoyable recording (made in 1980). The performance by Academy of St. Martin-in-the-Fields led by Neville Marriner, at the peak of their powers, is very stylish and the tempi are well judged. Some world-famous soloists participate - Henryk Szeryng (violin), Michala Petri (recorder), Jean-Pierre Rampal (flute) and Heinz Holliger (oboe). There are many "period performance" recordings of this work by now, some of which are good. However, when you listen to a performance using modern instruments like this one under review, I wonder if period performance enthusiasts (including myself) are missing something important for the sake of pursuing "authenticity". Here in this performance, there are no problems of edgy tones ... Read More:

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