The title alone is enough to make the heart beat a little faster. It is not coincidental that many music lovers have just this work as a centre in their private musical universe, a piece they return to again and again, always to find something new. A set of variations which stretches the limits; old man Bach with the powers to make the variation-form a display of pure music. This release concludes Ketil Haugsand"s recordings of all Bach"s "Clavierübung" on harpsichord for Simax Classics. The two earlier releases became reference recordings over-night, and Goldberg really is the jewel of the crown. As always Haugsand"s interpretation is no scratching the surface, but taking you through to the deeper layers of this music in breathing and singing phrases, along the map drawn up by Bach.
Harpsichordist Martha Cook here records Bach's Kunst der Fuge, BWV 1080 (The Art of the Fugue), with a specific interpretive framework in mind. The work, Cook believes, was devotional and intimate in intent; it is, she writes, a "musical prayer," and it embodies the parables and exhortation found in the biblical Book of Luke, 14:27-35. Interested readers are invited to consult the booklet for more details. Making the supposition work involves discarding the version of the work published after Bach's death by C.P.E. Bach and others, and it also involves some of the numerology that so often seems to crop up in connection with Bach's larger works. There's some justification in earlier German music for regarding Bach's instrumental music in this programmatic way; Bach would have known the Biblische Historien keyboard sonatas of 1700 by one of his key predecessors, Johann Kuhnau. But what's missing is any evidence of why Bach, by the end of his life a revered figure, might have wanted to embed secret messages in Die Kunst der Fuge. The unalloyed good news is that you can disregard the stated method of interpretation and listen to the performance in the abstract. It's very powerful.
Very few conductors have recorded as much Bach as Karl Richter and none can lay a stronger claim to a legacy based on championing the master. Richter's reverence for Bach is evinced by the simplicity, splendor, and grandeur with which he consistently imbued his performances exemplified here by these landmark recordings of the Brandenburg Concertos and Orchestral Suites. In Archiv's original-image bit-processing remastered transfers as well, the sound is better than ever. This is cornerstone Bach that should not be missed.
The music of Bach's 'St. John Passion', which the composer wrote for Holy Week in 1724 immediately after his appointment as cantor of St Thomas's Church in Leipzig, still retains all its freshness and vitality nearly 300 years later, and is a true Baroque delight. The two main choruses Herr, unser Herrscher and Ruht wohl, ihr heiligen Gebeine form the beginning and culmination of a large-scale orchestral and vocal structure in which Bach reveals his absolute mastery of polyphony. Inwardly reflective chorales are as much interwoven into the events of the Passion as the haunting arias which comment on the biblical texts of the Gospel of St John. Throughout this solemn Passion oratorio, there is a constant emphasis on Baroque musical magnificence. What makes this live recording of the concert version of March 7, 2015 in the Herkulessaal of the Munich Residenz so special? The fresh voices of the young and excellent vocal soloists, the regularly praised "astonishing three-dimensionality" and "crystalline clarity" of the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra and, of course, the renowned period instrument ensemble Concerto Köln.