Album Art Classics Explained Bach Js Brandenburg Concertos Nos 4 5 Siepmann

Bacewicz, Grażyna

BACEWICZ: Footling Triptych. Concert Krakowiak. Children's Suite. 2 Etudes for Double Notes. x Concert Etudes. Trois pieces caractéristiques. Piano Sonata No. ii / Morta Gringali ūnaté, pianist / Pianoforte Classics PLC10183 or available for costless streaming on YouTube beginning Here

BACEWICZ: Partita for Large Symphony Orchestra / Orkiestra Filharmonii Poznańskiej; Marek Pijarowski, conductor / available for complimentary streaming on YouTube

BACEWICZ: Piano Quintets Nos. 1 & 2.* Quartet for 4 Violins. Quartet for 4 Cellos / *Wojciech Świtała, pianist; *Silesian Quartet; Krzysztof Lasón, Malgorzata Wasiucionek, Szymon Krzeszowiec, Arkadiusz Kubica, violinists; Shine Cello Quartet / Chandos CHAN 10976; Piano Quintet 1 available for free streaming on YouTube

BACEWICZ: String Quartets Nos. 7, 1, three & six / Lutosławski Quartet / Naxos viii.572806

BACEWICZ: String Quartets Nos. v, ii & 4 / Lutosławski Quartet / Naxos 8.572807

BACEWICZ: Symphony No. 3 (1952) / Cracow Philharmonic Orchestra; Roland Bader, conductor / available for costless streaming on YouTube

BACEWICZ: Symphony No. 4 (1953) / Krakow Combo Orchestra; Roland Bader, conductor / available for free streaming on YouTube

BACEWICZ: Violin Concerti Nos. seven, ane & 3. Overture / Joanna Kurkowicz, violinist; Polish Radio Symphony Orchestra, Łukasz Borowicz, conductor / Chandos CHAN 10533; Concerti Nos. seven & one and OVerture available for gratuitous streaming on YouTube past clicking numbers in a higher place.

BACEWICZ: Violin Sonatas Nos. 2-v. Humoreske. Kloysanka. Witraz. Melodiya. iii Oberki. Concertino. Caprice. three Dances / Piotr Plawner, violinist; Ewa Kupiec, pianist / Hanssler Classic 93117

Grażyna Bacewicz (1906-1966) was clearly the greatest Polish composer of the 20th century later her earlier model, Karol Szymanowski, although in her ain compositions she melded several other influences, including Stravinsky, Bartók and such modern French composers equally Honegger. A pupil of Nadia Boulanger, she first began composing while withal an active violinist in the tardily 1930s, but it wasn't until an injury in the 1950s that she gave upwardly her violin career and turned solely to composing. Witold Lutosławski often cited her as the nearly important Polish composer of the post-War years and a potent influence on him and all other Shine composers who followed, yet unlike Szymanowski she is not that well known in the Due west.

The above recordings are for the most function splendid, the sole exceptions being the somewhat stodgy performances of the Symphonies by usher Roland Bader, but since these are the just current recordings of these works, beggars tin't be choosers. I urge you lot to explore this wonderful composer and discover what she had to offer for yourself.

Bach, Carl Philipp Emanuel

For a great many musicians and composers in the mid-to-belatedly 18th century, it was Carl Philipp Emanuel (or C.P.Due east.) Bach and non his father Johann Sebastian (J.S.) who was widely known, admired and lauded for his genius. History has proven that the senior Bach was certainly an important composer, and a neat one, but from the 1820s through the mid-20th century the rising star of J.Due south. had a deleterious effect on C.P.Due east., and he was unfairly shoved to the side by history. The truth is that, although C.P.E. had two very singled-out careers and musical styles—the rather conservative music he was forced to write for the court of Prussian Crown Prince Frederick, later Frederick the Great, and the wildly inventive music he wrote in his center to one-time age. Old Freddy was an enlightened and empathetic ruler but very reactionary in his musical tastes. He played the flute, well enough to pass muster with some professional musicians but not quite at the highest technical level. C.P.E. Bach was one of his two court composers, the other being Johann Joachim Quantz. Frederick preferred Quantz's music because it was more conventional and easier to play, but by default C.P.E. had to write music that was simpler and more regularly structured than he liked.

He "bankrupt out" of this mold once he left Frederick's service, afterwards long and difficult negotiations, in 1768 to assume his godfather Telemann'south position as director of music in Hamburg. Here, in add-on to turning more than of his energies towards religious and choral music, he broke out of his mold and started producing an astonishing serial of vivid symphonies and concertos that literally stunned the music world. These later works, described equally "empfindsamer Stil" or "sensitive style," had brilliant orchestration, spiky and unusual harmonies, radical shifts of tempo and key, and in the instance of the symphonies often continued movements. Equally Kapellmeister he also revived works by Telemann, Graun, Haydn, Handel and his father. In brusque, he was a piddling human dynamo whose innovation and free energy were the wonder of Europe, particularly because his age (between 54 and 74) at the time.

C.P.E. BACH: Die Auferstehung und Himmelfahrt Jesu / Hillevi Martinpelto, soprano; Christoph Prégardien, tenor; Peter Harvey, bass; Choir of College Vocale, Ghent; Orchestra of the Age of Enlightenment; Philippe Herreweghe, conductor / Cello Concertos, Wq 170-172 / Anner Bylsma, cellist; Orchestra of the Age of Enlightenment; Gustav Leonhardt, conductor / Concertos No. 1-6, Wq 43 (Hamburg Concertos) / Melante Amsterdam; Bob van Asperen, harpsichordist/conductor / Concerto in F for 2 Keyboards, Wq 46 / Tini Mathof, harpsichordist; Ton Koopman, harpsichordist/conductor; Amsterdam Baroque Orchestra / Fantasia in C, Wq 61 No. 6; Rondos, Wq 56 Nos. ane & 5; Wq 57 Nos. 1 & 3; Wq 58 Nos. three & 5; Wq 59 No. 4; Wq 61 No. 1 / Alan Curtis, fortepianist / Flute Concertos Wq 22, 166-169 / Konrad Hünteler, flautist; Amsterdam Baroque Orchestra; Ton Koopman, conductor / Oboe Sonata in G minor; Oboe Concertos, Wq 164-165 / Ku Ebbinge, oboist; Ton Koopman, harpsichordist/conductor; Amsterdam Baroque Orchestra / Organ Sonatas, H 84-87, H 133-134 / Herbert Tachezi, organist / Sonatas No. one-6, H 24-29, "Prussian" Sonatas; Sonatas No. i-six, H 30-35, "Wurttenberg" Sonatas / Bob van Asperen, harpsichordist / Symphonies Nos. 1-4, Wq 183/1-iv; Cord Symphony No. 5, Wq 182/5 / Orchestra of the Historic period of Enlightenment; Gustav Leonhardt, conductor / Warner Classics 256463492

This big, exhaustive, notwithstanding somewhat scattergunned set will give yous an excellent cross-section of C.P.Due east. Bach's work during his Hamburg flow (as well as the excellent Organ Sonatas from his latter-day Hanover period). Not all of the orchestras and conductors are created equal; some have much more straight tone than others; only there is enough hither by musicians who really know what they're doing, such equally Alan Curtis, Bob van Asperen and Gustav Leonhardt, to requite y'all a good idea of what Emanuel Bach was all about. Ton Koopman's Amsterdam Bizarre Orchestra is a bit more direct-toned than I normally like, only he was a pretty energetic usher and thus sometimes compensated for his orchestra's lack of expressivity. The but existent downer in this set is the disc including Herbert Tachezi's leaden, uninspired readings of the organ sonatas, which is why I prefer the recordings of Iain Quinn (see Organ Sonatas below), although you will likewise notice Emmanuel Pahud's recordings of the Flute Concertos Wq 22, 166 & 169 far more exciting than Konrad Hünteler's (see Flute Concertos below). All in all, however, a real bargain of works from Bach's great Hamburg menses, 13 CDs for $xl ($3 per CD). Y'all can't get wrong at that price.

C.P.East. BACH: half-dozen Clavier-Sonaten für Kenner und Liebhaber, Wq 55; Clavier-Sonaten including Rondos, Wq 56-57; Clavier-Sonaten with gratuitous Fantasias & Rondos, Wq 58, 59, 61 / Pieter-Jan Belder, fortepianist/clavichordist / Brilliant Classics 94486, as well bachelor for free streaming on Spotify

A superb collection of Emanuel Bach'southward keyboard sonatas by one of the well-nigh respected interpreters of today. This five-CD set is available in difficult copy for a ridiculous $xv, every bit downloads for $10, or for online streaming admittedly complimentary (see to a higher place).

C.P.Eastward. BACH: Flute Concertos: Wq 22, 166, 169 / Emmanuel Pahud, flautist; Kammerakademie Potsdam; Trevor Pinnock, conductor / Warner Classics 825646496433

These performances are so exciting and explosive you won't believe your ears. Role of it is due to the extraordinarily virtuosity and musicality of Pahud, only a great bargain of the credit also goes to Trevor Pinnock, who gets the most thrilling playing out of the Kammerakademie Potsdam you will ever hear in your life.

C.P.Eastward. BACH: Keyboard Concertos / Miklos Spányi, harpsichordist/fortepianist/tangent pianist; Concerto Armonico; Peter Szűtz, conductor as below:
Vol. iii: Concertos Wq 6, 18 & 18 / Bis CD-767
Vol. 4: Concertos Wq 9, xiii & 17 / Bis CD-768
Vol. 5: Concertos Wq 11, 14 & 19 / Bis CD-785
Vol. xx: Concertos Wq 46 for ii Keyboards, Horns & Strings; Wq 47 for Harpsichord, Pianoforte & Strings, Wq 47; Sonatine in D for 2 Harpsichords / add Cristiano Holz, harpsichordist; Tamás Szekenady, fortpianist

Over the class of two decades, Hungarian keyboardist Miklos Spányi and conductor Peter Szűtz embarked on the monstrous projection of recording ALL of Emanuel Bach'south keyboard concertos. Spányi, a particularly lively thespian, keeps things interesting by switching betwixt harpsichord, fortepiano and tangent piano for the diverse concertos, while Szűtz' conducting is consistently enlivening and heady. And what music information technology is! about an embarrassment of riches, the worst you tin say about some of these concertos is that they are simply very expert whereas most of the others range from peachy to mind-extraordinary. Your selection of CDs to acquire will, of course, depend on your interest in Classical-era keyboard concertos, your shelf space, and of form your extraneous funds. My own personal recommendations are listed above, simply your own sense of taste and preferences may vary.

C.P.East. BACH: Geistliche Gesange mit Melodien (5); Geistliche Oden und Lieder (9); 42 Psalmen und Melodien, Wq 196: Aus (Psalm 130), Dice Himmel ruten (Psalm 19), Preis sey dem Gotte (148) / Dietrich Fischer-Dieskau, baritone; Jörg Demus, tangent pianist / DGG Archiv 2533058

One of the finest all the same least-well-known of Fischer-Dieskau's dozens of recordings is this album of C.P.E. Bach lieder and psalms accompanied by Jörg Demus. This is extremely interesting music, leaning much more towards Beethoven's style of song writing than Mozart's; but and so once more, Beethoven was a huge admirer of Emanuel Bach.

C.P.E. BACH: Die letzten Leiden des Erlösers / Christine Schäfer, soprano i; Ellen Schuring, soprano ii; Anette Elster, contralto; Thomas Dewald, tenor; Roman Trekel, baritone; Raphael Alpermann, organist; Halle Madrigalists Choir; C.P.E. Bach Bedchamber Orch., Hartmut Haenschen, conductor / Euroarts DVD 60808

This magnificent and formerly-ignored religious cantata, The Last Sufferings of the Savior, is possibly just a bit more religious in tone and a shade less innovative than Emanuel Bach's Magnificat, simply still a highly recommendable piece. Had information technology been written by Haydn or Mozart instead of C.P.E. Bach, music critics would exist salivating over it. Over again, Haenschen—like his colleague Helmuth Rilling—gives an impassioned and beautifully-shaped performance without resorting to straight tone, and his cast of soloists are first-rate. There is too an alternate functioning with sopranos Christiane Oelze and Christina Landshamer, contralto Anke Vondung, tenor Maximilian Schmidt and baritone Trekel on CD, Berlin Classics 300575BC, but I personally prefer this one.

C.P.Eastward. BACH: Magnificat in D / Venceslava Hruba-Freiberger, soprano; Barbara Borneman, contralto; Peter Schreier, tenor; Olaf Bär, baritone; Berlin Radio Choir; C.P.Due east. Bach Chamber Orch.; Hartmut Haenschen, usher / Berlin Classics 1011

When Emanuel Bach's Magnificat showtime appeared on LP in the early 1970s, critics were stunned to discover that it was as cracking as the one his father had written in the same fundamental. Hartmut Haenschen, and then in the vanguard of immature conductors who insisted on lean orchestral sonorities in early on music, is thankfully ane of those who does not subscribe to the simulated religion of Straight Tone, thus you can ever trust his recordings for proper musicality, phrasing, dynamics and excitement.

C.P.E. BACH: Organ Sonatas: Wq 65 No. 32; Wq seventy Nos. 2-6 / Iain Quinn, organist / Naxos 8.573424

This recording of C.P.E. Bach's rarely-heard organ sonatas is but fantastic. Welsh organist Iain Quinn really tears into them and relishes in their odd musical form and colorful use of stops. Virgil Fox would have had a ball with these!

C.P.E. BACH: Sonatas, Wq 55/1-6 / Preethi de Silva, harpsichordist/clavichordist/pianist / Centaur 3279

One of several fine albums of Emanuel Bach'due south keyboard sonatas from his before Berlin period, played for all they are worth by the excellent but little-known Preethi de Silva. The sonics are likewise terrific on this disc.

C.P.E. BACH: Symphonies: Wq 183 Nos. ane-4; Wq 182 Nos. 1-six / C.P.E. Bach Bedroom Orch.; Hartmut Haenscne, usher / Phoenix Edition 443

Although this ii-CD set has a fairly short playing time and duplicates four of the symphonies conducted by Gustav Leonhardt in the Warner Classics boxed set, Haenschen'south performances are just so exciting that it'southward worth getting, and the six symphonies Wq 182 are even more exciting than the Wq 183 set.

C.P.E. BACH: Violin Sonatas: in D, H. 502; in B min., Wq 76; in C min., Wq 78; Clavier-Fantasie mit Begleitung einer Violine in f-abrupt min.; Arioso per il Cembalo e Violino in A, H. 535 / Leila Schayegh, violinist; Jörg Halubek, harpsichordist/tangent pianist / Pan Classics 10305

A superb anthology of Emanuel Bach's innovative writing for the violin, played fairly well despite the adherence to straight tone. The bang-up French violinist Amandine Beyer is even ameliorate in the Violin Sonata H. 512 in her drove on Zig Zag Terrotoires (see Beyer in collections).

Bach, Johann Sebastian

J.S. BACH: The Art of Fugue / Akademie für Alte Musik, Berlin; Stefan Mai, conductor / Harmonia Mundi 902064

J.S. BACH: The Art of Fugue / Stephanie Ho, Saar Ahuvia, pianists / New Focus Recordings FCR181

Certainly the knottiest and to the lowest degree approachable of all Bach's works, Dice Kunst der Fuge ended up being his last piece of work: the last fugue was left unfinished when he went to have the cataract operation that inevitably killed him. (Remember my favorite moral: Stay away from doctors!) The great chief of fugues probably intended this work strictly for study; certainly, no one in the 18th century ever bothered to actually perform it. In fact, when Bach'southward sons Wilhelm Friedemann and Carl Philipp Emanuel finally scraped up enough coin to publish it and try to promote information technology, it sold all of 53 copies in three years! They concluded up losing money on the venture.

Of course, many musicians, from unmarried instrumentalists to groups of various sizes and instruments, have played and recorded it since. Part of the problem most listeners take had with the music is its consistently slow step, deliberately chosen by Bach and then that even amateur keyboardists could follow the dissimilar strands of the fugues clearly. Most listeners prefer instrumental groups because the different instruments accept different timbres, thus allowing the music to exist heard fifty-fifty more clearly. So do I, and in my experience this is undoubtedly the nigh engaging functioning of all. The music may even so put you off, but Stephan Mai and his original-instrument band play it with then much feeling and energy that it becomes more than appealing. Now, your reaction may indeed vary from mine, but I went through six other recordings of this piece and none satisfied me as much as this i.

Then, a few years later on, I reviewed this absolutely delightful duo-piano recording past Stephanie and Saar. They make the music dance, and sing, and play it with a calorie-free touch and a light heart. So if you lot really adopt an instrumental grouping doing it you need to get the Mai recording, but if you don't mind two pianos (I didn't), the latter recording will satisfy your needs.

J.S. BACH: Brandenburg Concertos Nos. 1-6. Orchestral Suites. Concerto for Flute, Violin & Harpsichord in A min. / Munich Bach Orchestra; Karl Richter, usher / DGG Archiv 463657 (Brandenburg Concertos & Orchestral Suites likewise bachelor for free streaming on YouTube)

Originally, my exposure to Karl Richter'southBrandenburg Concertoswas his 1958 recording which was rather slow, sluggish and lacking sharp attacks. I had no idea that he re-recorded them in 1967 until recently, and these are now my favorite versions, featuring such star soloists as Hermann Baumann on natural horn, Aurele Nicolet on flute, and in the terminal 2 concerti, Richter himself on harpsichord. TheOrchestral Suites,recorded in 1961, do have somewhat boring performances of the overtures to each suite but are otherwise well-baked, clean and performed with tremendous energy and love. This is a virtually perfect recording in every respect!

J.S. BACH: Cantatas, as noted beneath. Labels and CD numbers not always given because they all come from different sources; check online for availability, including free downloads or streaming.

Cantata BWV 8, "Liebster Gott: Duch weichet" / Dietrich Fischer-Dieskau, baritone; Choir of St. Hedwig'southward Cathedral; Berlin Philharmonic Orchestra; Karl Förster, usher

Cantata BWV 21, "Seufzer, Trännen, Kummer, Not" / Kathleen Battle, soprano; Wynton Marsalis, trumpet; Anthony Newman, harpsichord; Orchestra of St. Luke'south; John Nelson, conductor / Sony Classical 46672

Cantata BWV 37, "Wer da gläuber und getauft wird" / Lilo Rowles, soprano; Ingrid Lorenzen, contralto; Helmut Krebs, tenor; Dietrich Fischer-Dieskau, baritone; RIAS Bedroom Choir & Orchestra; Karl Ristenpart, conductor

Cantata BWV 41, "Lass Uns, O Hochster Gott, Das Jahr Vollbringen" / Eileen Farrell, soprano; Bach Aria Group; William H. Scheide, manager

Cantata BWV 47, "Wer sich selbst erhöhet, der soll erniedrget" / Agnes Giebel, soprano; Dietrich Fischer-Dieskau, baritone; RIAS Bedchamber Choir & Orchestra; Karl Ristenpart, conductor

Cantata BWV 51, "Jauchzet Gott in Allen Landen" / Emma Kirkby, soprano; Crispian Steele-Perkins, trumpet; English language Baroque Soloists; John Eliot Gardiner, conductor / Philips 411458 (likewise see Magnificat in D )

Cantata BWV 56, "Ich will den Kreuzstab gerne tragen" / Dietrich Fischer-Dieskau, baritone; RIAS Sleeping room Choir & Orchestra; Karl Ristenpart, conductor

Cantata BWV 58, "Ach Gott, wie manches Herzeleid" / Eileen Farrell, soprano; Norman Farrow, bass; Bach Aria Group; William H. Scheide, manager

Cantata BWV 73: "Herr, wie du willt, so schicks" / Dietrich Fischer-Dieskau, baritone; Choir of St. Hedwig'south Cathedral; Berlin Combo Orchestra; Karl Förster, conductor

Cantata BWV 79, "Gott der Herr ist Sonn und Schild" / Agnes Giebel, soprano; Lorri Lail, contralto; Dietrich Fischer-Dieskau, baritone; RIAS Chamber Choir & Orchestra; Karl Ristenpart, conductor

Cantata BWV 84: "Ich bin vergnücht mit meinen Glücke" / Magda Lászó, soprano; Vienna Combo Orchestra; Hermann Scherchen, usher

Cantata BWV 115: "Ach schläfrige Seele, wie? ruhest du noch?" / Eileen Farrell, soprano; Norman Farrow, bass; Bach Aria Group; William H. Scheide, director

Cantata BWV 158: "Der Friede sie mit Dir"/ Dietrich Fischer-Dieskau, baritone; Choir of St. Hedwig's Cathedral; Berlin Combo Orchestra; Karl Förster, conductor

Cantata BWV 201: "Phoebus & Pan" / Sibylla Rubens, soprano; Bach-Collegium, Stuttgart; Helmuth Rilling, conductor

Cantata BWV 202, "Wedding" / Sibylla Rubens, soprano; Bach-Collegium, Stuttgart; Helmuth Rilling, conductor OR Kathleen Battle, soprano; Ravinia Festival Orchestra; James Levine, conductor

Cantata BWV 206, "Glide, playful waves" / Christine Schäfer, soprano; Ingeborg Danz, contralto; Stanford Olsen, tenor; Michael Volle, bass; Bach-Collegium Stuttgart; Helmuth Rilling, conductor

Cantata BWV 208, "Hunt" / Sibylla Rubens, soprano I (Diana); Eva Kirchner, soprano II (Pales); James Taylor, tenor ( Endymion); Matthias Goerne, bass (Pan); Bach-Collegium Stuttgart; Helmuth Rilling, conductor

Cantata BWV 211, "Java" / Christine Schäfer, soprano; James Taylor, tenor; Thomas Quasthoff, bass; B ach-Collegium Stuttgart; Helmuth Rilling, conductor

all of the above  4 1/2 to v fish

I know that fans of the historically-informed historicals will have a coronary over near of the recommendations above, specially Germans who, believe it or not, absolutely detest Dietrich Fischer-Dieskau and think that he ruined everything he sang by over-italicizing the words, only as a Bach vocalist I believe he was unparalleled. In fact, odd though information technology might audio, when he sang Bach he placed the voice lower than normal and sounded much more similar a bass than a baritone, which was all to the good. Merely practise not underestimate the musical apprehending of such conductors as Ristenpart, Scheide (who led the Bach Aria Group in New York for many years), Förster, Rilling or Levine, and do not sneer at the Bach singing of Eileen Farrell, who devoted much of her career to his music and in fact ended up every bit a choir contralto singing a lot of his music. These are, for the most function, securely moving performances, and I for one prefer my Bach deeply moving.

You may also note that I've left a lot of the religious cantatas off this listing. You lot bet I have, because, as B.H. Haggin pointed out, virtually of them were "written to lodge" on a weekly basis by a difficult-pressed Bach who could certainly write music in his sleep and turn out a well-crafted score but really wasn't very inspired for about of these. I've always felt that the Cantata No. 51 was the exception, a work that Bach had a lot of fun writing because it exploited the vivid vocalization of a boy treble (although such a phonation rarely sings it nowadays) and trumpet. I take, nevertheless, included nigh all of the secular cantatas, which I happen to relish a great deal, particularly the "Chase," "Coffee" and "Wedding" cantatas.

J.S. BACH: Choral Preludes
BWV 599-612, 645-647, 651-660, 690-693, 701-706, 708-716 / Jean Guillou, organist / part of boxed set of Bach Organ Works, Dorian 92104

BWV 705-708a, 710, 733, 750, 752, 756. 758, 762, 765, 1085 / Margaret Phillips, organist / part of Regent 308

Two different approaches by two entirely different organists, yet both are interesting and valid. Jean Guillou, now 86, plays his own beloved organ on all of these and sometimes introduces ornaments or improvisations not written by Bach. Margaret Phillips, a British organist, plays her Preludes directly on a series of authentic European organs. The common ground is that they both play with enthusiasm and life. Yous may, of form, find and enjoy other versions that you like, but these are my choices.

J.Southward. BACH: Chromatic Fantasia & Fugue, BWV 903; Goldberg Variations; Italian Concerto, BWV 971 / Wanda Landowska, harpsichord / EMI 610082

J.S. BACH: Chromatic Fantasia & Fugue, BWV 903; Sonata for Viola da Gamba & Harpsichord No. 1 in Grand, BWV 1027*; Suite for Solo Cello No. 5 in c min., BWV 1011* / Zuzana Růžičková, harpsichord; * Janos Starker, cello / Hänssler 93.726

Two absolutely groovy recordings of the Chromatic Fantasia & Fugue, and both by harpsichordists with rich, full tones  which the HIP aficionados simply can't tummy. Waaah, waaah, waaah, cry baby, cry. These are superbly singing performances that bring joy to the listener. Have yo forgotten what joy in listening is like? Why, aye, I believe y'all have. The Landowska disc, taken from mid-1930s performances, only gets iv fish considering of the limited mono sound and because her performance of the Goldberg Variations was truncated to fit 78-rpm discs, but not due to performance quality. With the Růžičková CD you likewise become a terrific functioning of the Suite for Solo Cello No. 5 by Janos Starker and an equally neat version of the Sonata for Viola da Gamba & Harpsichord No. one by both artists.

J.S. BACH: Mass in B Modest / Margaret Marshall, soprano I; Janet Bakery, soprano II/alto; Robert Tear, tenor; Samuel Ramey, bass; University of St. Martin-in-the-Fields Chorus & Orch.; Sir Neville Marriner, conductor / Philips 416 415-2, available at Arkivmusic or for gratuitous streaming on YouTube beginning HERE.

Having had enough of both Historically Infected Performances, with their whiny straight-tone violins and choruses with no vibrato that sounded like a MIDI (sometimes I wonder if these performers realize just how utterly Icky they make music sound?), and Bad Sometime Days performances with their "rounded" rhythms, sensuous phrasing, and pompous, overly-religious approach, I started listening to everyMass in B SmallI could observe. Yep, I tried and tried to like the Gramophone'due south favorite Mass, John Eliot Gardiner, only I'm agape that he has go something of a leathery old coot in his performances since the mid-1990s. No longer are his performances flowing as well every bit energetic; they are simply cold, glassy and choppy. Y'all may like that, merely I don't. Amidst the other conductors' versions I heard were Scherchen (both his mono and stereo recordings), Brembeck, Müller-Bruhl, Celibidache, Giulini, Richter, early on and late Karajan, Ohrwall, Ericson, Daus, afterward Gardiner (on SDG), Max, Ozawa, Seymour, Budday, Rifkin (one to a part? no cheers), Christophers, Biller, Junghanel, Marriner, Herreweghe, Beringer, Bruggen, Suzuki, Butt, Hickox, Kuijken, Rademann, Bernius, Funfgeld, Fasolis, Allwood, Radu, three by Rilling, Straube, Minkowski, Jacobs, Parrott, Corboz, another one by Schreier, Mauersberger, Kuijken, Mortensen, Jochum, Klemperer and Herreweghe. Is that enough Masses in B Modest for you? Information technology was for me.

Now, listen you, three of these came shut for me: the Beringer, Funfgeld and afterward (2005) Rilling. But the Beringer uses the Windsbach Boys' Choir which, though very, very adept, didn't quite satisfy me, and the recorded sound is a little too ambient, with goopy echo effectually the soloists, chorus and orchestra. As for Funfgeld, his functioning is mostly spectacular in both musical feeling and clarity of lines; he uses a HIP orchestra that doesn't audio revolting, and terrific soloists. But I don't actually like hearing the opening "Kyrie" taken at a little over nine minutes—that's just too fast for me, considering the feeling of the slice—and although his chorus starts off "Cum sancto spiritu" like gangbusters, they slow it down a bit in order to go all of that breathtaking counterpoint in cleanly. Rilling came off the best, just in that location was just something a little less than majestic in his reading and he uses what sounds similar a depression trumpet to simulate the "hunting horn" called for by Bach, which other composers from Weber to Wagner substituted a French horn for.

Simply then I returned to this recording, which I hadn't heard since the early on 1980s considering I was told information technology was the incorrect style. It isn't. It'south just that Marriner used a chamber orchestra of about 40 musicians playing without directly tone, and they sounded enough rich for me. And for those who claim that at least ii of the soloists, Bakery and Ramey, audio too "operatic" for this music, I must respectfully disagree. Baker was an old paw at singing Bach, and here she cut back on her voluminous power to good effect, while Ramey didn't need to. "Quoniam tu solus Sanctus" calls for only such a voice, full, rich and beautiful. The only reason I don't accolade it six fish is due to the bland, somewhat nasal vox of tenor Robert Tear, the poor man'southward Peter Pears. Had Marriner used Stuart Burrows in this recording, it would have been perfect.

J.S. BACH: St. John Passion / Juliane Banse, soprano; Sabrine Goetz, soprano (Ancilla); Ingeborg Danz, contralto; Michael Schade, tenor (Evangelist); James Taylor, tenor; Matthias Goerne, bass (Jesus); Andreas Schmidt, baritone; David Stingl, bass (Petrus); Gächinger Kantorei Stuttgart; Bach-Collegium Stuttgart; Helmuth Rilling, usher

The "junior" Passion of Bach contains much fantabulous music merely is somewhat harder to pull off in performance as it is not quite as theatrical or riveting as the one of St. Matthew. Prior to hearing this recording I was very fond of Monica Huggett's version on Avie, just the coldness of her directly-tone strings and the obtrusive and inauthentic singing of a falsetto countertenor were no match for this heartfelt performance past Rilling with an all-star cast of singers who are emotionally involved and committed.

J.S. BACH: St. Matthew Passion / Elly Ameling, soprano (Arias, 1st Maid, Pilate's Wife); Marga Höffgen, contralto; Fritz Wunderlich, tenor; Tom Krause, bass; Peter Pears, tenor (Evangelist); Hermann Casualty, baritone (Jesus); Heinz Blankenburg, baritone (Peter, Priest, Pilate); August Messthaler, bass (Judas); Stuttgart Hymnus-Boys' Choir; Stuttgart Chamber Orchestra and Chorus; Karl Munchinger, conductor / Decca 414057

Yes, I'g irresolute my choice for the St. Matthew Passion. I originally started with Otto Klemperer, moved to mid-1990s Helmuth Rilling, then to Peter Dykstra before running across this recording which I hadn't remembered existed. Why this magnificent performance has taken a back seat to the gimmicky versions by Klemperer and Karl Richter I'm non certain, only upon listening carefully to it I think I have one answer. This performance is really much closer to today'south HIP style. The strings play with a light vibrato in sustained passages (which is historically correct as opposed to directly tone) simply use straight tone in rapid passages, particularly the violin obbligato in a couple of the arias. Münchinger also used a real viola da gamba to back-trail the secco recitatives instead of a modern cello and mixes a boys' chorus with an adult choir, and if yous listen through headphones you'll hear all sorts of piddling orchestral details that you simply don't hear in the Klemperer, Richter or Rilling versions.

And however this functioning has the aforementioned kind of emotional depth that both Klemperer and Dykstra imparted to the music, with better tempos than the former and better and more consequent soloists than the latter. Tenor Peter Pears, considered the pre-eminent Evangelist during the 1960s and '70s, reprises that role here from the Klemperer set. I know there are some people who think that Dietrich Fischer-Dieskau with Klemperer is the greatest exponent of the role of Jesus, only I observe Hermann Prey consistently interesting. Equally good as Nicolai Gedda was on the Klemperer set, Fritz Wunderlich's tenor solos are even better sung, and all the other soloists are superb. Maybe one reason I ignored information technology was due to the presence of soprano Elly Ameling, who I always found extraordinarily boring in lieder, but much to my surprise her singing hither is far livelier and more than involved than I've ever heard her earlier or since. Tom Krause, who for some reason never quite achieved the widespread recognition he deserved equally a height bass-baritone, sings the bass arias while the fifty-fifty more underrated Heinz Blankenburg (see my review of his Figaro in Mozart'southward Le Nozze di Figaro) is excellent equally Peter and Pontius Pilate.

The ane vocaliser who seems to come in for the most criticism today is contralto Marga Höffgen. Why? Because she has an even, regular but noticeable vibrato. Then what? Back in the 1950s/60s, a great many fine German singers had an even merely noticeable vibrato, among them Rita Streich and Elisabeth Grümmer. The real reason Höffgen gets slammed is because of the preponderance of hooty pure-voiced singers nowadays, including countertenors, who listeners and critics accept been told to prefer. I'll take Höffgen'south deeply expressive singing over theirs any twenty-four hour period of the week.

Then hither you take information technology, a classic recording. It is also available on YouTube in two dissimilar incarnations: one, the complete performance in i huge audio file but, weirdly, only in monophonic sound which distorts the voices and eliminates the stereo separation of the choirs, and second, beautiful stereo files available in eight large chunks. But the latter omits two recitative passages from Part i ("Und da sie den Lobgesang" and "Petrus aber antwortete") and repeats a chorus in Part 3, then be forewarned.

J.S. BACH: Sonatas & Partitas for Solo Violin / Joseph Szigeti, violinist / Vanguard ATM-CD-1246 or available for free streaming on YouTube: Sonata 1, Partita i, Sonata 2, Partita ii, Sonata three, Partita iii

I'one thousand embarrassed to say that, until a calendar week or ii ago, I was completely oblivious to this magnificent recording, originally fabricated for Bach Order in 199 & 1956 (Partita No. 3), merely these are among the finest performances of these works on disc. Non that Szigeti plays them all the fastest or the most exciting, although his allegros are very good, but that he takes intendance in each and every movement of each slice to bring out as much in the music as he can, using subtle rubato touches to make it every bit eloquent as possible. The recorded sound is a fleck dry out only OK, although the online transfers by the Deucalion Project are remastered to perfection.

J.S. BACH: Sonatas & Partitas for Solo Violin, BWV 1001-1006 / Mikhail Pochekin, vln / Solo Musica SM298

This Pochekin recording is 1 of my more recent discoveries (January 2022), but information technology takes its place alongside the Szigeti recording every bit one of the greatest interpretations of these difficult works. Pochekin is so great a virtuoso that yous almost take his incredible feats of bowing for granted equally yous mind, but surely not his musical concept. He conceives of each Sonata and Partita every bit a whole entity, notwithstanding brings out an amazing amount of detail while remaining energetic and emotionally committed from beginning note to last.

J.Southward. BACH: 6 Suites for Solo Cello / Yehuda Hanani, cellist / Town Hall THCD51

J.S. BACH: half-dozen Suites for Solo Cello / Zuill Bailey, cellist / Telarc 31978

A conundrum: two recordings of the Bach Cello Suites, both being awarded six fish. Why? It'south a long story. About xviii years ago, when I was about to attend a symposium for educatee cellists on the Bach Suites, I was telling Hanani, who was the professor leading it, that my experiences with listening to the cello suites was non a happy experience. He explained to me how they were structured and how he, in particular, went out of his way to make sure that all the inner voices were heard clearly and offered to send me a re-create of his recording. I accepted, and was bowled over. Never had I heard so much passion and life in these works! So naturally, this became my gold standard recording.

Then, about 9 years later, I was asked to review Zuill Bailey's new recording of them for Telarc and, if I liked it, interview him about the recording. I didn't think anyone else would even equal Hanani, permit alone surpass him, but much to my surprise Bailey's performances were mesmerizing in an entirely different way. When I talked to him I asked him if he alternated betwixt vibrato and straight tone, equally so much of the playing sounded vibrato-free. He explained to me that no, he used a constant quick vibrato, in some passages keeping it very light with the intention of "hypnotizing" his listeners while playing certain movements. Furthermore, he had tried this out in live operation prior to recording the suites. Every bit I say, the musical approach is very different—Bailey does not put as much accent on the inner voices as Hanani, and his tempi are often a chip slower—but it is a hypnotic functioning, i you will never forget. I ain both. Do y'all need to do the aforementioned? No, non really, but hopefully the descriptions I've provided above will assistance yous decide between them.

J.S. BACH: Violin-Keyboard Sonatas, BWV 1014-xvi, 1018 / Yehudi Menuhin, violinist; Wanda Landowska, harpsichord / A Classical Record 45 (mono: live, Dec 20, 1944)

J.South. BACH: Violin-Keyboard Sonata No. 4, BWV 1017. BEETHOVEN: Violin Sonata No. 10 in G. SCHOENBERG: Phantasy for Violin & Pianoforte, Op. 47 / Yehudi Menuhin, violinist; Glenn Gould, pianist / Sony Classical 52688

J.S. BACH: 6 Sonatas for Violin & Harpsichord / Henri Temianka, violinist; Anthony Newman, harpsichordist / available for free streaming at the Net Archive

The first disc listed above comes for domicile-recorded lacquer discs made at Town Hall in December, 1944, when Menuhin and Landowska created absolute magic with Bach. The only drawbacks are the indigestible sound and the fact that they decided to omit one of the 5 violin-keyboard sonatas so as to not make the program too long and to be able to remainder it, two sonatas in each half of the program. They were signed to tape the complete sonatas for RCA Victor, merely the terminal yr of the War and their busy schedules prevented them from recording any just Sonata No. 3. Menuhin did record the total dive sonatas with Louis Kentner for Victor/HMV, but although the performances were very fine they but missed the magic of the performances with Landowska on harpsichord. Many years later, around 1966, Menuhin also recorded the "missing" Sonata No. four in a CBC broadcast with Glenn Gould, and magic was once again fabricated, and so if y'all get these two discs you'll have outstanding performances of the full set by Menuhin.

Equally for the second recording, in good stereo from 1977, it features the superb harpsichordist Anthony Newman with the first-class and often underrated violinist Henri Temianka, whose playing on here is exemplary, using a light, fast vibrato in sustained notes and side by side to no vibrato in the fact passages, only as violinists actually did in the 18th century.  The stereo sound is as well surprisingly good for a live performance. These recordings were never issued commercially.

J.Due south. BACH: The Well-Tempered Clavier / Gianluca Luisi, pianist / Centaur 3040-43

My first option for this huge masterpiece was Wanda Landowska; then information technology was Glenn Gould; then Vladimir Feltsman; and now information technology's Gianluca Luisi, only somehow I don't think I'll observe a better operation anywhere. As Luisi told me when I interviewed him for the release of this set, "My playing is as articulate as a mountain stream." So it is. Exquisite in every respect.

Bach, Wilhelm Friedemann

Only i flick of Bach'due south oldest son, Wilhelm Friedemann, exists, and in it he looks similar the jolliest and most relaxed Bach of all. Only reports betoken the opposite, that he was stubborn, difficult to deal with, and in some ways the most reactionary and sometime-fashioned composer of all of J.S. Bach's children. Nevertheless some of the music he wrote is quite expert, thus we will recommend some of it here.

W.F. BACH: Keyboard Sonatas: in F, Fk deest; in D, Fk three. Keyboard Concerto in Chiliad, Fk xl. Ouverture in Es, Fk deest. Menuett in F, Fk deest. Fantasias in D pocket-sized, E pocket-sized / Léon Berben, harpsichordist / Carus 83346

A very fine drove of some of W.F. Bach'southward keyboard works, showing his elegance and fashion, very well played by Berben.

Due west.F. BACH: Sinfonia in D, Fk 64. Adagio & Fugue in D min., Fk 65. Harpsichord Concerto in Due east minor, Fk 43*. Sinfonia in F, Fk 67 / *Raphael Alpermann, harpsichordist; Akademie für Alte Musik; Stephan Mai, conductor / Harmonia Mundi HMC901772, or listen for free on Spotify

Wilhelm Friedemann's symphonies were entirely different from those of his brothers: not as forrard-looking as Johann Christian or Carl Philipp Emanuel, yet much more in a sort of French galant manner than the orchestral suites of his begetter. Stephan Mai isn't the most exciting conductor in the world, merely he does get the Akademie für Alte Musik orchestra to play these works with considerable amuse and elegance, qualities oft missing from many HIP performances nowadays. Harpsichordist Raphael Alpermann is a specialist in music from this menstruation, and it shows in his splendid performance of the Harpsichord Concerto.

Balakirev, Mili

BALAKIREV: Pianoforte Sonata in B-apartment min. Rêverie. Mazurka No. 6 in A-apartment. Islamey. LISZT: Pianoforte Sonata in B min. Too includes music of Lyapunov / Louis Kentner, pianist / APR 6020

Louis Kentner, a brilliant pianist born in Austria but raised in Hungary, emigrated to the U.G. in 1935 and remained there for the residuum of his life. He fabricated a expert many recordings, including the Bach Violin-Keyboard Sonatas with his blood brother-in-law Yehudi Menuhin, merely is scarcely known in the U.S. except for his astounding recordings of Nalakirev and Lyapunov, collected here on this two-CD fix. Despite their being mono sound (recorded in the belatedly 1940s), the playing is of an extraordinarily high level and volition simply blow you away.

Barber, Samuel

Samuel Barber, talented but non quite a genius, was still a master of modest-form music. His Adagio for Strings, three Essays for Orchestra, Andromache'due south Goodbye, Dover Beach, Knoxville Summertime of 1915 and diverse songs are all gems, while his full-length operas are generally long-winded without saying very much. Eventually this caught upwardly with him financially as well as personally when his opera commissioned for the opening of the new Metropolitan Opera, Antony and Cleopatra, was a consummate bomb. Expecting revenues from A & C that never materialized, Barber sadly fell into financial and personal refuse. He had to motion to smaller and less amenable apartments, his health failed, and he died at age seventy. Information technology was a sad end for a man who had come from a good family—he was the nephew of esteemed Metropolitan Opera contralto Louise Homer, who used her friendship with Arturo Toscanini to get his Adagio and beginning Essay for Orchestra performed by the Maestro with the NBC Symphony—but never quite understood his limitations. All the same, Hairdresser'southward smaller-scale music is very fine indeed, inspired likewise as well-crafted, thus we need to include him here.

Barber: Adagio for Strings / NBC Symphony Orch., Arturo Toscanini, usher / available for free streaming hither

Fifty-fifty with the lacking, boxy sound, I nonetheless find Toscanini's operation of this piece to be the about moving and emotional ever given. You are, of class, free to find any recordings please you meliorate. I've not found them. four one/2 fish due to the boxy mono audio.

Barber: Excursions, Op. 20 / Christopher Harding, pianist / available for complimentary streaming hither: I. Un poco allegro; II. In Dull Blues Tempo; III. Allegretto; 4. Allegro molto

Barber's wonderful, and oft-ignored piano suite Excursions was apparently written nether the influence of Gershwin'due south 3 Preludes, for they are surprisingly jazzy little works that have a tremendous result when played with the right swagger, as Harding does here.

Hairdresser: The School for Scandal: Overture. Symphonies Nos. 1 & 2. Essay for Orchestra No. 1 / Royal Scottish National Orchestra; Marin Alsop, usher / Naxos 8.559024

BARBER: Knoxville, Summer of 1915. Essays for Orchestra Nos. ii & 3. Toccata Festiva / Karina Gauvin, soprano; Thomas Trotter, organist; Royal Scottish National Orchestra; Marin Alsop, conductor / Naxos 8.559134

In recent years, for any reason, Marin Alsop'southward recordings accept shown a lessened intensity from her before piece of work for Naxos, only these earlier recordings from 1999-2002 are absolutely the most exciting Barber you will ever hear. The problem is that neither of the two Symphonies are really that expert, nor is the Toccata Festiva; and although Karina Gauvin has an admittedly gorgeous voice, her pronunciation isn't terribly clear in Knoxville. My recommendation is to purchase the tracks you need to have equally individual downloads and create your own album. In addition to the 3 Essays and the School for Scandal Overture, you lot volition also want Medea'south Meditation and Dance of Vengeance.

BARBER: Knoxville, Summertime of 1915 / Eleanor Steber, soprano; Dumbarton Oaks Orchestra; William Strickland, conductor / Dover Beach, Op. 3 / Dietrich Fischer-Dieskau, baritone; Juilliard String Quartet / Hermit Songs, Op. 29 / Leontyne Price, soprano; Samuel Barber, pianist / Andromache'southward Goodbye / Martina Approach, soprano; New York Combo Orch.; Thomas Schippers, conductor / Sony Classical/CBS MPK46727

This drove of classic Barber performances, mostly recorded in the 1950s, has scarcely been out of print since it outset appeared in the very early 1990s and with proficient reason. Each of these is a classic account of the music. Just look at the lineup: 4 of the greatest singers in history, each giving fresh, vibrant performances of the slice they are assigned. My somewhat lower rating is due to the cramped mono audio on most of these.

Barber: Complete Songs / Thomas Hampson, baritone; Cheryl Studer, soprano; John Browning, pianist; Emerson String Quartet / DGG 0289 435 8672 6

Finding consummate collections of any composers's songs that are good from kickoff to stop is extremely rare, but this 2-CD ready is nearly impeccable. Both Hampson and Studer were in their song prime when this set was recorded, and although in that location may exist a song here and in that location where you like someone else'southward interpretation a shade amend, zip on this magnificent set up dissapoints. The only "dream team" I could imagine nowadays being any better would be Bryn Terfel and Stephanie Houtzeel, and I don't see them recording this material. Alas, none of the orchestrally-accompanied songs are here, meaning no Knoxville and no Andromache's Goodbye, simply Dover Beach is magnificently sung by Hampson with the Emerson Quartet. A real bargain.

Equally for a modern recording of Knoxville, the best I've heard is the one by soprano Barbara Hendricks with the London Symphony Orchestra conducted by Michael Tilson Thomas, which you lot can stream for free here.

Bartók, Béla

BARTÓK: Allegro Barbaro; 10 Piece of cake Pieces, Nos. 6 & 10; Rumanian Folk Dances; 2 Rumanian Dances; 14 Bagatelles: No. 10, Allegro giocoso; iii Burlesques: No. 2, A Bit Drunk; Suite, Op. 14; 15 Hungarian Peasant Songs; Sonatina; Petite Suite; 3 Hungarian Folk Tunes; For Children, Vol. 1 (excerpts); Mikrokosmos (excerpts) +; Improvisations on Peasant Songs; viii Hungarian Folk Songs (vii) *; Rhapsody No. 1 for Violin & Piano # ; half dozen Rumanian Folk Dances # ; Contrasts for Violin, Clarinet & Piano #^ / Béla Bartók, pianist; *Mária Basilides, contralto; Ferenc Székelyhidy, tenor; +Ditta Bartók Pásztory, pianist; #Jósef Szigeti, violinist; ^Benny Goodman, clarinetist / SCARLATTI: Sonatas in G, K. 427; A, K. 212; A, One thousand. 537; B-apartment, K. 70. BRAHMS: Capriccio in B small, Op. 76, No. 2. KODÁLY: Hungarian Folk Music * / Béla Bartók, pianist; *Mária Basilides, contralto; *Vilma Medgyaszay, soprano; *Ferenc Székelyhidy, tenor / Hungaroton HCD-32790/91

This set, which I consider indispensable for those who like Bartók, presents the composer equally pianist in a large cantankerous-department of his ain works likewise as short examples of how he played Scarlatti, Brahms and Kodály. The reason the sete only gets 4 fish has more to practise with the sound quality, which ranges from mediocre to poor (Bartók fabricated a lot of his records for small-scale labels with inferior sound quality; only Contrasts was made for a major label, Columbia) that performance quality. As I said in my longer, detailed review of this gear up, almost no one today plays Bartók's music the way the composer did in terms of phrasing, lyricism and drive, thus these are—despite the variable sound—the preferred recordings of well-nigh of them.

BARTÓK: Concerto for Orchestra; Hungarian Sketches; Music for Strings, Percussion and Celesta / Chicago Symphony Orchestra; Fritz Reiner, usher / RCA Living Stereo 61504

Classical music critics really don't agree unanimously on very many recordings of annihilation, but this is one case where I think we are all of one mind. Fritz Reiner and Bartók's skilful friend, violinist Joseph Szigeti, were the ones who persuaded Serge Koussevitzky—who didn't much similar Bartók's music—to commission the Concerto for Orchestra, only that isn't the reason why this recording is so expert. The reason it'due south so proficient is that Reiner gets deep under the skin of the score, bringing out its varied moods while also highlighting all the musical details. Of all the subsequently recordings, the simply one that comes close to this is Georg Solti's 1965 album with the London Symphony Orchestra (Decca 467686), which I would give five fish, just even with the 1950s analog audio of Reiner's Living Stereo release information technology's notwithstanding a six-fish performance.

BARTÓK: Knuckles Bluebeard's Castle / Tatiana Troyanos, mezzo-soprano (Judith); Siegmund Nimsgern, baritone (Bluebeard); New York Philharmonic Orch., Rafael Kubelik, conductor / bachelor for free streaming here. (live: March 27, 1981)

BARTÓK: Duke Bluebeard'south Castle / Sylvia Sass, soprano (Judith); Kolos Kovats, baritone (Bluebeard); Istvan Sztankay, narrator; London Philharmonic Orchestra; Sir Georg Solti, conductor / Decca 433082

Ii outstanding performances of Bartók's corking comedy opera; neither one is deficient in any way, but the Solti gets six fish while the Kubelik gets only five. The reason is the improver of the oft-omitted narrator, whose low-primal but bone-chilling introduction, behind which the opening music slowly comes up, almost has the effect of the opening of the old Inner Sanctum radio plan. Both conductors lead their forces with intensity, and if I prefer Troyanos' singing a bit better than Sass', I prefer the latter'southward idiomatic Hungarian wording. The Kubelik was a live broadcast while the Solti was recorded beforehand and and so put to a film where the principals lip-synched their roles. The DVD of the product is, however, simply awful to watch, then don't fifty-fifty bother seeking it out. Also, the Solti has the reward of first-rate miking in the studio where every piffling orchestral detail emerges as clear every bit a bell, which also contributes to the half dozen-fish rating.

BARTÓK: The Miraculous Mandarin. Two Portraits* JANÁČEK: Sinfonietta / *Shlomo Mintz, violinist; Berlin Philharmonic Orchestra; Claudio Abbado, conductor / DGG 445501

A lot of critics have their favorite Miraculous Mandarin; this is mine. Some people prefer Abbado's recording with the London Symphony Orchestra, but I discover that interpretation a bit besides slick—generally a trouble with Abbado in almost everything he conducted in the orchestral repertoire. The Two Portraits is a nice piece if not a particularly great ane, like the Janáček Sonfonietta.

BARTÓK: Piano Concertos Nos. 1-3 / Peter Donohoe, pianist; City of Birmingham Symphony Orchestra; Simon Rattle, cond. / Warner Classics 54871

As I mentioned in my review of Bartók Plays Bartók (artmusiclounge.wordpress.com/bartok-plays-bartok-listen-and-larn/), the composer himself played his works in an entirely unlike style than we hear most of the time present. The modernistic trend is to play the piano music, including the piano parts of these concertos, in a very dry, percussive style, just Bartók himself played with a legato style and enough of "binding" of notes even when the music was very rhythmic. I have never heard any modernistic-day pianist approach this authentic Bartók style any better than Peter Donohoe does here. He is simply astounding, non merely in having the correct phrasing for this music but besides in existence able to cutting through its myriad technical difficulties similar a hot pocketknife through butter. This consummate control of the keyboard allows him to interpret the music, and he does this in a way that is both sensitive and exhilarating in turn. Simon Rattle, who when he is "on" can be one of the greatest conductors in the earth, is absolutely wired here. As a Gramophone reviewer said in 1993, Rattle really makes this music audio "fun," a great achievement.

Of historical recordings, I've only really found a couple of versions of the Concerto No. 3 in the aforementioned league every bit these. The first of these is Annie Fischer'southward recording with Igor Markevitch and the London Symphony Orchestra, available as both a single disc on Musique Classique and in the EMI boxed set of Fischer's complete London studio recordings (Warner Classics 2564634123). Fischer, being Hungarian herself, has this music "in her claret" and plays it as beautifully as I've ever heard it in my life. The second is Dinu Lipatti's 1948 alive performance with Paul Sacher and an orchestra that doesn't play much of it very well on Urania 22.122, simply don't be discouraged as Lipatti is superb on it. Both are mono, of course. Insofar as other recordings of the iii concertos go, only Geza Anda with Ferenc Fricsay comes close to this Donohoe-Rattle disc. This is a desert island disc.

BARTÓK: Piano Quintet / Vilde Frang, Barnabas Kelemen, violinists; Katalin Kokas, violist; Altstaedt, cellist; Alexander Lonquich, pianist / Alpha 458 (also see: Veress, Sandor, String Trio)

This very early work (1904) has stiff roots in the Romantic style of Brahms, merely in that location are several surprising and dramatic passages in it that bespeak forward to the composer'south mature style. This performance is absolutely brilliant in every respect.

BARTÓK: Sonata for ii Pianos & Percussion / Beryl Rubinstein, Arthur Loesser, pianists; Cloyd Duff, Emil Sholie, percussionists / available for free streaming & download at Internet Archive

One of the bottom-known merely more fascinating of Bartók'due south works, this 1950 operation is but as good artistically as the 1 by Bartók himself with his wife, Ditta Pásztory-Bartók, but in much ameliorate audio.

BARTÓK: Sonata for Solo Violin. Violin Sonatas Nos. 1 & ii / Barnabás Kelemen, violinist; Zoltan Kocsis, pianist / Hungaroton 32515

Prior to the appearance of this disc, my favorite recording of the ii Violin Sonatas was the one by violinist James Ehnes, merely Barnabás Kelemen but blows him away in terms of intensity and Zoltan Kocsis' pianism almost sounds as if he is improvising behind him. In addition, Kelemen plays the fiendishly hard Solo Violin Sonata likewise or better than anyone else on tape. A jewel of a disc.

BARTÓK: String Quartets Nos. i-6. KODÁLY: String Quartets Nos. ane-2 / Alexander String Quartet / Foghorn Classics FCL-2009

Since this is the first of several entries you will see in my guide for the Alexander Cord Quartet, an access is required. When I was reviewing classical CDs for a major publication, I was sent some recordings for review merely if positive. This is a technique that CD review publications employ to lure the artist into granting an interview, which costs them advertising coin. The critic doing the interview gets paid a picayune actress for doing said interview (no, I don't become paid a dime for doing interviews on this blog), but the king of beasts's share of the money goes to the mag. Not existence someone who indulges in pay-to-play because I feel it compromises my integrity as a critic, I rarely accepted such interviews. In fact, on 3 occasions I flatly refused to practise them because, although I gave somewhat positive reviews to the CDs, I was not enthusiastic enough about the artist or composer to want to bother to do the interviews.

My experience with the Alexander String Quartet was the contrary of this. I was completely bowled over by the CD I was sent and begged to be the ane to be allowed to do the interview with the group's founder and cellist, Alexander "Sandy" Walsh-Wilson. We take since go online acquaintances of sorts and adore each others' work, but only because of my great admiration for their performances. In my view, they are the premiere string quartet of our modern era.

Thus my rating of their recording of the complete Bartók (and Kodály) quartets, a gear up that even surpasses the Bartók performances of the Emerson String Quartet on Deutsche Grammophon. What makes them so special? In addition to an absolutely gorgeous array of tone colors, impeccable technique and emotional commitment—all of which they share in mutual with other quartets, including the Emerson—the Alexander Quartet has an extra sparkle to their playing in the form of enlivened rhythmic "lift" and drive that I merely don't hear in most other quartets. No, not everything they do is flawless, simply it'south pretty close to that, and in these quartets by Hungarian composers they manage to accommodate their sound to the peculiar Magyar rhythms on which this music was based. This isn't an like shooting fish in a barrel accomplishment, I can clinch yous, and I call up that if you arroyo the set, every bit I did, with a completely open mind and objectivity, you volition agree with my assessment of these recordings.

I have given them six fish considering I accept not heard any other quartet, new or one-time, come up close to what they accomplish here in this music.

BARTÓK: Violin Concerto No. 2 / Yehudi Menuhin, violinist; Wilhelm Furtwängler, usher / available for free streaming at YouTube: I. Allegro non troppo; II. Andante tranquillo; III. Allegro molto

BARTÓK: Violin Concerto No. 2. Rhapsodies for Violin & Orchestra Nos. 1 & ii / Kyung-Wha Chung, violinist; Urban center of Birmingham Symphony Orchestra; Simon Rattle, conductor / EMI 54211

The thought of Menuhin playing Bartók isn't half as strange as the concept of Furtwängler conducting Bartók, nevertheless oddly enough, both gave 100% and the consequence is phenomenal. Only iv ½ fish due to the dated mono sound, nonetheless.

I've long felt that, for whatever reason, Kyung-Wha Chung is a sadly underrated violinist, at least so far as public perception is concerned, but her performances here are simply dazzling and Rattle is a very sympathetic accompanist. That being said, I still prefer the Menuhin/Furtwängler pairing in the concerto by a small margin.

BARTÓK: 4 Orchestral Pieces. Music for Strings, Percussion & Celesta. Violin Concerto No. 1 / Christian Ostertag, violinist; SWR Sinfonieorchester Baden-Baden und Freiburg; Michael Gielen, conductor / SWR Music 93.127

A very dissimilar reading of the Music for Strings etc., emphasizing the piece of work'south lyrical qualities. Some listeners take found it wanting "a dark undertone of mystery," but I do not. It'southward more or less a mod digital version of Guido Cantelli's old performance with the NBC Symphony. The early (1908) Violin Concerto is a scrap on the sentimental side, merely Gielen brings out deep sadness in the music, while the 4 Orchestral Pieces have bite and venom to spare.

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Source: https://thepenguinsgirlfriendsguide.wordpress.com/2016/11/16/composers-ba/