Bach - The Keyboard Concertos Vol 2

Editorial Reviews
Album Details
Angela Hewitt Performed and Recorded with the Australian Chamber Orchestra in February 2005, a Perfect Collaboration Resulting in Two Volumes of Bach Keyboard Concertos.

Tracks:

Piano Concerto In A Major, BWV. 1055: Allegro moderato
Piano Concerto In A Major, BWV. 1055: Larghetto
Piano Concerto In A Major, BWV. 1055: Allegro ma mon tanto
Piano Concerto In F Minor, BWV. 1056: Allegro moderato
Piano Concerto In F Minor, BWV. 1056: Largo
Piano Concerto In F Minor, BWV. 1056: Presto
Piano Concerto In F Major, BWV. 1057: Allegro
Piano Concerto In F Major, BWV. 1057: Andante
Piano Concerto In F Major, BWV. 1057: Allegro assai
Piano Concerto In G Minor, BWV. 1058: Allegro moderato
Piano Concerto In G Minor, BWV. 1058: Andante
Piano Concerto In G Minor, BWV. 1058: Allegro assai

Customer Reviews:

Very good.......2001-05-01

Hae-won Chang has recorded two volumes of Bach's keyboard concerti. At the moment, Amazon carries only the second volume. But both are excellent recordings of all the seven surviving solo keyboard concerti on piano. Chang's articulation is crisp and expressively colorful, helping carry the often-suppressed counterpoint in these works above the orchestra--especially notable for concerti 1052 and 1054 on the first volume. Some of the performances here stand up to some of the other great recordings of these works on piano. The 1052, for instance, on volume one, is dramatic with unwaning impetus, rivaling even Gould's performance with Bernstein. Although the 1055 concerto is less successful, the famous 1056 concerto presented in volume two is dramatic in its first movement surging tempo, preparing for the calm and tastefully rendered second movement. And the third movement, so often, it seems, played with banging and clanging by many pianists, rings clearly here, mirroring the first movement's rush. The orchestra, of modern size, is up to the task as well; the 1058 concerto shows off the strings and continuo especially well in their brightness and range of force. One cannot go wrong with this set when looking for consistently fresh and clear performances on piano of Bach's solo keyboard concerti.

Great Performance!.......2000-10-27

The Naxos disc is really a great bargain, considering the wonderful and colourful performance of the soloist. Chang plays much better than Gavrilov, who seems to be unable to produce anything except staccato in Bach's concertos. Really nice!

Bargain Bach.......2000-10-15

Hae-won Chang plays these keyboard concertos beautifully and is sympathetically accompanied. This is playing of real distinction - direct and unforced: the CD would be a first recommendation even if three times the price.

Ditto for Volume Two-very good!.......1999-12-10

If you want Bach's concertos on modern piano, and you don't want to pay full price (or even if you do), look no further.

Average customer rating:

An entertaining fun disc, historically inaccurate
First rate!
Chang's Bach Piano Concertos are a joy!

Bach: Complete Piano Concertos, Vol. 1

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000013R8
Release Date: 1994-02-15

Tracks:

Piano Concerto in D Minor, BWV.1052: Allegro non troppo ed energico
Piano Concerto in D Minor, BWV.1052: Adagio
Piano Concerto in D Minor, BWV.1052: Allegro
Piano Concerto in E Major, BWV.1053: Allegro
Piano Concerto in E Major, BWV.1053: Siciliano
Piano Concerto in E Major, BWV.1053: Allegro
Piano Concerto in D Major, BWV.1054: Allegro
Piano Concerto in D Major, BWV.1054: Adagio e sempre piano
Piano Concerto in D Major, BWV.1054: Allegro

Customer Reviews:

An entertaining fun disc, historically inaccurate.......2005-06-25

If you would like to hear Bach's keyboard concertos as Bach actually intended them to be heard, you would do well to look elsewhere. Naxos later produced a series of recordings with the Cologne Chamber Orchestra directed by Helmut Müller-Brühl in which historical performance practice is ideally combined with modern instruments - these are available at the usual incredible Naxos price; if you prefer historical instruments, then I suggest looking at recordings by The English Concert/Trevor Pinnock (on Deutsche Grammophon) or by the ensemble Le Concert Francais/Pierre Hantai (on Auvidis-Astrée).

Nevertheless, if you prefer the modern piano to a harpsichord and are not too worried about questions of "authentic" style, you will probably enjoy this 1990 Naxos disc on which Korean pianist Hae-won Chang gives a classy performance quite brilliantly captured by the Slovakian engineers. The accompanying Camerata Cassovia, directed by Robert Stankovsky, seems to have had quite a field day, too, although the engineers have ensured that it is always the soloist in the foreground. A fun disc on which pure entertainment takes priority over any musicological considerations.

First rate!.......2000-03-03

Beautiful music beautifully done. The soloist's phrasing is crystal clear and calm. I have four other recording of these pieces on both harpsicord and piano, and this is my favorite by far.

Chang's Bach Piano Concertos are a joy!.......1999-12-10

What a fun CD! The performances are excellent, the sound is very good and the music is glorious. If you want the Bach keyboard concertos on a modern piano, here you go. Note that while everything is on modern instruments, tempos are quick and the playing is lively, thus providing the best in period performance practices.

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A Kid's Review

Bach: Keyboard Concertos, Vol. 2
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006FIBI
Release Date: 2002-09-03

Customer Reviews:

A Kid's Review.......2005-07-06

Glenn Gould has a special way of expressing Bach. He plays Bach like nothing from the Baroque time period. Not everyone likes his way of expressing but his way will certainly amaze you.

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too routine for me
Reformed purist.
2006 Gramophone "Artist of the Year"
A new way to present a time honored treasure

Bach - The Keyboard Concertos Vol 2
Bach , Angela Hewitt , Richard Tognetti , and Australian Chamber Orchestra
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009K9P7U
Release Date: 2005-06-13

Tracks:

Allegro
Larghetto
Allegro Ma Non Tanto
(First Movement)
Adagio E Piano Sempre
Allegro
(First Movement)
Siciliano
Allegro
Allegro
Adagio
Presto
(First Movement)
Andante
Allegro Assai

Album Details

Angela Hewitt Performed and Recorded with the Australian Chamber Orchestra in February 2005, a Perfect Collaboration Resulting in Two Volumes of Bach Keyboard Concertos.

Customer Reviews:

too routine for me.......2007-06-24

Angela Hewitt's two disc traversal of Bach keyboard concertos has received all kinds of critical acclaim, but to my ears this volume does not live up to its high reputation. Angela Hewitt has moved to the front of the pack of Bach players on modern keyboard - she plays very fluidly, & very respectfully. But her gentle, middle of the road approach, while pleasing, seems to lack genuine excitement. I won't say that her playing is bland, but it is certainly predictable. I have Hewitt's set of English Suites, which is more satisfying than the concertos; so I am not completely unsympathetic to her approach to Bach. Perhaps part of the fault here lies with the Australian Chamber Orchestra which sounds thin & uninspired? In any event, I bought the first volume of this set & returned it unopened after listening to the second volume.

How I wish Klara Wurtz would tackle this repertory....

Reformed purist. .......2006-02-15

When I first ran across these recordings, I dismissed them as another "romantic atrocity" commited against the music of Bach.
While some period purists, myself usually included, would cry foul at the inclusion of a modern grand piano in these concerti, I think it useful to remember that Bach was not ignorant of the pianoforte and its capabilities. In 1747, Bach was invited to the Court of Prussian Emperor Frederick the Great at Berlin where he was asked to test out the Silbermann pianofortes (the pianoforte was invented in 1709. Bach's prowess on the instrument so impressed the Emperor, that he asked Bach to improvise on a subject of his (the Emperor's) own invention, from which came the Musical Offering.
The modern piano is completely capable of overpowering a baroque chamber orchestra and to Hewitt's credit, she never exceeds the bounds of good taste and dignity by descending to the bombast that could potentially ruin this music and turn the soloist into the proverbial bull in a china shop. That is not to say that her interpretations are sterile and uninteresting; The very nature of the piano provides for a timbral and dynamic expressiveness unattainable on the harpsichord, and the soloist uses these effects to their best within the limits of the genre-conforming the piano to Bach and not Bach to the piano.
The 5th Brandenburg concerto, while obviously not 'authentic' is played with such grace and deference to the music and the other soloists that it becomes a joy to listen to. The flautist and violinist in the Brandenburg and triple concerti as well as the flautists in the 5th concerto, although playing modern instruments, are nonetheless gracious in their interpretation, once again conforming their instruments and technique to the music and not the other way around.
The Orchestra's performance is excellent. Though not perfoming on period instruments, they maintain the clear, precise timbre of a baroque orchestra. While the literal meaning of concerto may mean contest, the baroque concerto is less a contest and more of a cooperation of solo and orchestral forces than its romantic descendant which is almost a battle at times. The result is that neither soloist nor orchestra usurps the other's place in the music.

In the end, This performance, while not a period performance, is definitely not a romantic interpretation either and deserves to be heard if for no other reason than that it is a new take on these musical gems.

2006 Gramophone "Artist of the Year".......2005-07-21

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 fresh and effervescent in every aspect - from Ms. Hewitt's delicate, poised articulations to the beautiful orchestral compliment from the ACO to the excellent Hyperion-engineered sound. Ms. Hewitt chose the Australian Chamber Orchestra after playing these works for many months with several orchestras around the world. Just hearing the first few bars of the first movement of the 6th concerto reveals how perfect Hewitt and the ACO are for each other and this music. The ACO's style and judgment are always in pefect compliment to Hewitt's playing - never overwhelming or underwhelming her gorgeous lines. If you prefer the more intimate dialog and effect of a smaller orchestra compared to the drama and power of a larger one, these performances should delight. There is a wonderful, chamber-like interaction and relaxed musicianship here that makes these performances rather irresistable and highly refreshing. Where the works in Volume 1 were more virtuostic and sprightly, those in Volume II here are a bit more intimate and pleasantly meandering.

Compared to other "reference" recordings, there is more of a carefree flow of tempo - and really charm - in the Hewitt/ACO performances which have a Spring-like freshness in their appeal. Hewitt's playing is both delicate but completely commanding at the same time and blends wonderfully with the feathery tones of the two flute soloists and Richard Tognetti's silky-smooth violin interludes. All use modern instruments, yet retain appropriate period mannerisms with sonorities that are truly beautiful, enhanced by superb Hyperion sound engineering. While Miss Hewitt could easily take over with her powerful Fazioli Concert Grand, she use finesse and nuance to create a more gentle interaction with the lithe ACO.

Having ten years of Bach recordings under her belt shows clearly in Hewitt's natural, at-one flow with the music - like she has penetrated the life within the music and just exudes it the most natural and intended manner like breathing. Her lines are sure and elegant and her ornamentations support the overall melody in the most delightful way that does not draw attention to the performer. Her bass 'flutters' are particularly appealing and inject nuances of artistry and excitement. This is music of top caliber and performances to be celebrated that have a timeless, ever-fresh quality that should wear well through the years. Such performances as this are one reason Miss Hewitt won the 2006 Gramophone "Artist of the Year" award. She is also Hyperion's top-selling artist.

I was impressed with the amount of extremely positive music industry reviews of these July '05 releases. Dependable music critic David Hurwitz of ClassicsToday gave both CD's glowing reviews and a perfect 10/10 for Artistry/Sound Quality. Indeed, even the non-SACD sound is absolutely brilliant and without fault (perfect balance, clarity of solists and depth of tonal textures). And with these concertos, Ms. Hewitt completes her decade-long Bach traversal with a grand crescendo and now moves on to new projects - which includes the third volume of Couperin's clavier pieces, works from Chabrier and three of Beethoven's piano sonatas including the Appassionata.

A last tidbit for Hewitt fans: Angela Hewitt is the first woman to record the whole of Bach's keyboard works - and doing it from memory as well, which is no easy task given the complexities of Bach's counterpuctal scores. In an interview Angela comments how many pianists fear performing Bach from memory as "getting off the rails" is easy to do with such inter-twining music - all of which make her Bach all the more impressive.

A new way to present a time honored treasure .......2005-07-18

This two set CDs of Bach's keyboard concerti surely brought Hewitt's discography to a new height. One relevant point is that Bach wrote these works for harpsichord, but as time and experience can tell, Bach survives through all transcriptions and applications of music instruments. This is a testimony that music is more important than form. I need to make this statement as most of listeners will agree with me that Bach rarely sounds so great as in this recording. Ms. Hewitt's playing is fluid and sensible, with reasonable pedal work added to bring sonority and legato at certain passages, but never overdone. Her passage works are well executed and clear, and her phrasings are subtle and convincing. In some parts, she made Bach extremely melodious. Australian Chamber supported the soloist with verse and a warm tone, with the concert master playing some counterparts commonly neglected in other performances. Another unique feature on this recording is that apart from the solo piano, there is a harpsichord playing continuo in the ensemble. The recording is well balanced and full of clarity. This set will bring fresh new delight and enjoyment for any Bach lovers.

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First Volume of a Valuable Complete Edition

Bach: Keyboard Concertos Vol.1

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000016M5
Release Date: 1995-10-24

Tracks:

I. Allegro Di Molto
II. Adagio
III. Allegro
I. Allegro
II. Andante
III. Allegro Assai
I. Allegro Non Molto
II. Largo
III. Allegro Assai

Customer Reviews:

First Volume of a Valuable Complete Edition.......2007-05-24

Carl Philipp Emanuel Bach (1714 - 1788): The Complete Keyboard Concertos Vol. 1 containing 1. Concerto in G major H. 405 (Wq. 3); 2. Concerto in A minor H. 403 (Wq. 1); 3. Concerto in E flat major H. 404 (Wq. 2). Performed by Miklós Spányi, harpsichord; Concerto Armonico (7 violins, 2 violas, cello, double bass and harpsichord); directed by Miklós Spányi and Péter Szüts. Cadenzas improvised at the recording sessions (December 1994 at the Angyalföld Reformed Church, Hungary). First issued in 1995 as BIS CD-707. Total playing time: 61'52".

This is the first volume of a long series of BIS recordings documenting the complete works for harpsichord and strings by the second son of Johann Sebastian Bach, Carl Philipp Emanuel. The notes in the CD booklets are provided by members of the team at the University of Maryland who are working on a complete edition of Emanuel Bach's works. Miklós Spányi has decided on the basis of his musical intuition which keyboard instrument to use in each instance - on this first volume we hear a copy of a large harpsichord by the North German instrument-maker Hieronymus Hass. Spànyi has carefully compared the autograph manuscripts with later revisions by the composer himself (copies to be found in the Royal Conservatory of Brussels in Belgium).

Carl Philipp Emanuel Bach was, in the eighteenth century, the one people meant when they spoke of "Bach". He was born when his father was 29 years old, spent his youth learning the musician's trade with his father in Leipzig (where H. 403 and H. 404 were written) and, at the age of 20, moved to Frankfurt an der Oder in order to study law (but where he also took charge of musical activities and where he wrote and presumably first performed H. 405). In 1738 he moved again, this time to Berlin where he became harpsichordist at the Court of the future King of Prussia, Frederick (the Great) and where he published his famous theoretical treatise "Essay on the True Way of Playing the Keyboard". In 1768 he was called to be director of church music in the city of Hamburg, where he remained until his death. Altogether he wrote 64 works for keyboard and strings, but also many works for clavichord or harpsichord solo, for pianoforte, a good deal of chamber music, songs and sacred vocal works. His life spanned most of the 18th century, and his name is usually associated with the musical version of "Sturm und Drang" (infelicitously translated as "storm and stress") or "Empfindsamkeit" (sensibility).

The three concertos on this first volume are youthful works - the correct place to begin when studying his output, but definitely only a place to start! H. 403 and H. 404 sound, not surprisingly, quite similar to Johann Sebastian Bach's harpsichord concertos, and although booklet-authoress Rachel Wade argues that the style here is "in keeping with the style he later became known for", it is, I feel, the baroque-ness of these pieces that any lay listener will hear. It is with H. 405 that the somewhat eccentric personality of Carl Philipp Emanuel breaks through - not so much in the keyboard, I felt, as in the strings, where one can already hear some of the surprising jumps and leaps that were to be his "trademark" in later years.

Miklòs Spányi and his Hungarian team (leader: Péter Szüts) take the music at a slightly slower pace than they might perhaps have chosen, and the strings tend to sound a little "thick" at times, despite the relatively small ensemble. But a comparison of H. 405 with the recording made three years later by Ludger Rémy and his "Les Amis de Philippe" for the German label cpo makes it plain that it is possible to perform this music with more clarity and verve and to make the development from father to son a good deal more transparent.CPE Bach: Harpsichord Concertos.

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Itzhak Perlman Collection

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DOKC
Release Date: 1995-01-01

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Bach: Harpsichord Concertos Vol. 3

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000I9AF
Release Date: 1999-03-23

Tracks:

Concerto For Harpsichord And Strings: Allegro
Concerto For Harpsichord And Strings: Larghetto -
Concerto For Harpsichord And Strings: Allegro ma non tanto
Concerto For Three Harpsichords And Strings: (Allegro) -
Concerto For Three Harpsichords And Strings: Alla siciliana -
Concerto For Three Harpsichords And Strings: Allegro
Concerto For Two Harpsichords And Strings: Allegro
Concerto For Two Harpsichords And Strings: Largo ovvero adagio -
Concerto For Two Harpsichords And Strings: Allegro
Concerto For Harpsichords, Two Recorders And Strings: (Allegro)
Concerto For Harpsichords, Two Recorders And Strings: Andante -
Concerto For Harpsichords, Two Recorders And Strings: Allegro assai

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Bach: Harpsichord Concertos, Vol.2

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000006HWN
Release Date: 1998-03-17

Tracks:

Con in C, BWV 1064: I. [Allegro] - Paul Nicholson/Laurence Cummings
Con in C, BWV 1064: II. Adagio - Paul Nicholson/Laurence Cummings
Con in C, BWV 1064: III. Allegro - Paul Nicholson/Laurence Cummings
Con in g, BWV 1058: I. [Allegro] - Tim Kraemer
Con in g, BWV 1058: II. Andante - Tim Kraemer
Con in g, BWV 1058: III. Allegro Assai - Tim Kraemer
Con in E, BWV 1053: I. [Allegro] - Jonathan Manson
Con in E, BWV 1053: II. Siciliano - Jonathan Manson
Con in E, BWV 1053: III. Allegro - Jonathan Manson
Con in a, BWV 1065 (Trans From Vivaldi's Con, Op.3 No.10): I. [Allegro] - Paul Nicholson/Laurence Cummings/John Toll/Peter Buckoke
Con in a, BWV 1065 (Trans From Vivaldi's Con, Op.3 No.10): II. Largo - Paul Nicholson/Laurence Cummings/John Toll/Peter Buckoke
Con in a, BWV 1065 (Trans From Vivaldi's Con, Op.3 No.10): III. Allegro - Paul Nicholson/Laurence Cummings/John Toll/Peter Buckoke

Bach: The Keyboard Concertos, Vol. 2 [Hybrid SACD]

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Bach: The Keyboard Concertos, Vol. 2 [Hybrid SACD]

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009K9PHU
Release Date: 2005-08-09

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Elegantly Played Bach Harpsichord Concertos

Bach: Harpsichord Concertos, Vol. 2

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000M2EBWE
Release Date: 2007-02-27

Customer Reviews:

Elegantly Played Bach Harpsichord Concertos.......2007-03-28

I was very pleased with Volume One Bach: Harpsichord Concertos, Vol. 1 in this series and now we have Volume Two. And it's just as elegantly and sensitively played as the first issue was. Lars Ulrik Mortensen is a fine harpsichordist and conductor. His long experience playing with renowned baroque groups certainly tells in this and the previous CD. Another thing I really like about this recording is that the sound of the harpsichord is not swallowed up in the body of the orchestral sound, as is so often the case, and yet the sound of the instrument does is not obviously amplified or recorded too closely. And the tonal quality of Mortensen's instrument is lovely -- none of that jangly sound one hears much to often in harpsichord recordings.

As for the works presented here we have four of Bach's concerti of which two are certainly among the most popular -- BWV 1056 in F Minor -- originally a violin concerto and with that absolutely gorgeous Largo movement which could almost be a soprano aria with its pure long melodic line and the gentle pizzicato string accompaniment -- and BWV 1057 -- better known in its version as the Fourth Brandenburg Concerto; here it is transposed down a full step and the Brandenburg's violin solo is here replaced by the harpsichord.

Concerto Copenhagen (or 'CoCo' as it is often called) is a group of young Danish baroque instrumentalists for whom Mortensen is the artistic director. They play elegantly and with real élan; this group does not play Bach in that too-familiar dead-baroque-composer style we hear too much of. This is living music played with brio.

Volume Two gets an enthusiastic recommendation.

Scott Morrison

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