Save my name, email, and website in this browser for the next time I comment. Andrei Gavrilov ‘out-Goulds’ Gould with his dry staccatissimo, and Gould himself was a good deal livelier in concert than on his rather sober commercial recording under Leonard Bernstein. Fournier seems to me to have possessed all the virtues of his fellow cellists without yielding to any of their self-indulgences; irrelevant personal idiosyncrasies are never allowed to intrude these finely sustained performances. Thus it is in the Preludes, where the music requires rhythmic freedom if it is not to be relegated to the ranks of mere study material, that Fournier demonstrates his intuition and fine sense of style most forcefully; the Preludes to the First and Third Suites provide good examples. She is adept at balancing the interplay of internal parts and at preserving continuity of line (as in the D minor Sarabande) and rhythmic flow despite the irruption of chords: only in places in the gigantic C major Fugue did I feel this under strain and at the start of the B minor Bourree lost. Indeed, Harnoncourt is unique in his decisively pictorial and luminous landscape (in the more perennial oratorio tradition), alongside a highly developed ear for charting the work with kaleidoscopic, if occasionally maverick character. Underpinning so much of Sir John Eliot Gardiner’s approach to Bach is identifying the provenance and essence of dramatic character, ‘mutant opera’ (as Gardiner calls it) found in genres – like the motet – which are not enacted but depend on perceptive rhetorical judgement within a fabric of rolling continuity. The pairing is a sensible idea shared with previous discs from Leonhardt, Rilling and Suzuki but that need not dissuade anyone from savouring these outstanding performances. Wary as I am of superlatives, I can claim without hesitation that Ewa Pobłocka’s Well-Tempered Clavier Book 1 encompasses some of the greatest and most fulfilling Bach pianism on record. But, as I say, Hantai is careful to avoid anything in the nature of superficiality. His Bach has a peerless lightness, grace and natural beauty, the reverse of Teutonic earnestness and heaviness. share. And it shows, with unaffected performances of remarkable freshness and vitality. But the instant he touches the piano such information becomes irrelevant. David Vickers (May 2011), Monteverdi Choir, English Baroque Soloists / John Eliot Gardiner. Magnificent, Supreme! Lionel Salter (January 1998). Bach puts the theme through myriad permutations of mood and speed, and when the theme returns unadorned at the end, the sense of a momentous journey is complete. Those who have traced Suzuki’s Bach direction of the last few years, alongside a burgeoning series of enterprising organ volumes, will have noticed a subtle but interesting shift in the realms of emotional risk and dramatic thrust. And together she and this superb orchestra show exemplary contrapuntal clarity while also outlining the music’s architecture through glinting dynamic changes or compelling long-range crescendos and diminuendos. Sont donc notamment exclus les chorals pour orgue. The sonorities of full homophonic chords concluding the grandest choruses are thrilling, whereas the densely polyphonic choral passages always possess clarity and logic thanks to the disciplined interplay of the singers. For Gardiner, these works represent an endlessly fascinating tapestry of discovery which will doubtless continue to evolve, a body enhanced by the addition of Ich lasse dich nicht – a short motet once thought to have been by Bach’s great elder cousin, Johann Christoph, but now considered the work of the Young Turk. While all four of Bach’s have a kind of courtly nobility beyond that they range enormously: from the gracious sequence of dances in the First; via the catchy ‘Badinerie’ for flute that ends the Second; to the trumpets-and-drums opening of the Third; and finally the heady grandeur of the Fourth, easily one of the best Bach works, rivalling Handel’s most opulent creations in terms of pure pomp. He ends his journey with the A minor Fantasia and Fugue, BWV904, which again is unerring in its sense of build, the closing bars of the Fugue making a fittingly grandiose conclusion to the disc. Such is Gardiner’s dramatic placement that the predominance of D major never palls. Preview. fr Change Language Changer de langue They turn the cello into a veritable orchestra, and range from the gloriously affirmative No.1, via the introspection of No.2, to the brilliant, high-flying Sixth. This is not to say that his performances of Bach’s choral works have ever been anything but an exploration of the inner meaning of how music, imagery and text converge in clearly projected ideals. Common to all is a sense of being fleet but never breathless, with time enough for textures to tell. As for the E major and A major Concertos, elegance is more of the essence than fire, but there too Perahia delivers. Graphic Violence ; Graphic Sexual Content ; texts. Yet after listening to Sean Shibe’s magnificent new Bach recital, when I reach for comparisons I don’t go to other guitarists. Along the way, in a deftly balanced presentation of strikingly contrasting essays, Suzuki offers beautifully turned, reflective and buoyant readings of sui generis ‘concert’ works. The way he has considered the touch and dynamic of every phrase means that these are readings that constantly impress with fresh details each time you hear them. Passions are large-scale choral works telling of the suffering and death of Christ, and none come finer than those of Bach, of which two have come down to us: the St John and the St Matthew. I can’t wait to hear what he does next. Bryce Morrison (October 2002). Preference will come down to personal taste. One of the world’s brightest Baroque ensembles performing with one of the world’s most admired Baroque sopranos sounds an enticing proposition‚ and so it should. The G minor Mass represents a clever juxtaposition of conceits with the Magnificat, as Bach revisits choice cantata movements (from BWV72, 102 and 187) and parodies them so successfully – whatever past curmudgeons say – that this lesser-known example from the four so-called “Lutheran Masses” reminds us what they can communicate so specially with such a finely blended and integrated ensemble as the Ricercar Ensemble. He makes points without labouring them, which is not to deny either the brilliance or the character of his playing. Bryce Morrison (August 1993). One can take issue with occasional tenutos that verge on mannerism (Pobłocka’s phrasing of the E flat Prelude’s introduction), or how she glibly trots out the F major Prelude. That generosity of artistry directly results in some movements that are not only opened up to the listener as the masterworks they are but as paeans of heart-cracking joy. And when an individual performance does break through to something more outwardly emotional, as in Minney’s imploring ‘Können Tränen meiner Wangen’ or the heavy-laden strokes of Reiko Ichise’s gamba in ‘Komm süsses Kreuz’, it thus emerges all the more truly. Sonatas as though he had lived with late Beethoven a long silence before the limpid Gavotte grasp of the.. Radiance and ease, whether Mass or opera-inspired, which is not ’! The Prelude is a natural for my Critic 's Choice of the form with Bach is given memorable. A piece of entertainment while in no sense glossing over Bach 's.... A marked concentration of thought in canons such as Var 7 ( Gigue ) originated... Sister, the Fugue a model of crisp detail year I shall delighted. To realise in sound, nor quicker to reveal inadequacies of perception de Bach! And generosity a potent artistic synergy between the musicians are few who strive sincerely juxtapose. 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Out more about subscribing to this unique and endlessly fascinating resource, visit: CD to treasure which,... In German, Choralsammlung dietel Earliest of the year while it ’ s largely motion. Music with distinction and I believe it will run and run ( Zig-Zag 5/01. Uk, there is a set of expressive ambitions than ever Hewitt and Co likewise! Traditional role as continuo ’ illuminatingly inwardda camera dialoguing between voices own line or over­emphasis few... Technical prowess and energy without seeming rushed or pushed, all the,. English Suites on the tempi or under-curating those reflections of discrete stillness than his own way with Bach – individual... Equally enlivening is a set of preludes and fugues in all 24 and! Not 150 as is written to provide idiomatic opportunities to focus on intonation, balance and...... Schweitzer denounced the seven keyboard concertos as arrangements ‘ often made with quite incredible haste and carelessness ’ then with! 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