Bach: Harpsichord Concertos 1

Editorial Reviews
Amazon.com
So little documentary evidence remains of Bach (many of his major works are still lost without trace) that the survival of his seven harpsichord concertos assumes great significance. From these works, we can learn much about scoring that elsewhere has had to be conjectured; their origin as concertos for violin or oboe adds to the fascination. Until Bach put it in center stage, nobody had thought of the harpsichord as a solo instrument: it was with these works that a new genre came into being that would culminate in the concertos of Mozart and Beethoven. And they still dazzle today. Naxos's battery of soloists, led by the musicologist Robert Hill, is extremely good, working up exhilarating miasmas of sound above the accompanying orchestra. But this orchestra embodies the concept of historical practice on modern instruments, which raises all sorts of questions. In both pitch and tone quality, they are irredeemably modern: the "period" element is somewhat elusive. But as musical archaeologists they are invaluable: this CD comes as part of Naxos's excellent eight-disc box of all of Bach's major orchestral works. --Michael Church

Tracks:

Concerto for Harpsichord and Strings in D minor, BVW 1052: 1. Allegro
Concerto for Harpsichord and Strings in D minor, BVW 1052: 2. Adagio
Concerto for Harpsichord and Strings in D minor, BVW 1052: 3. Allegro
Concerto for Harpsichord and Strings in E major, BVW 1053: 1. (without tempo indication)
Concerto for Harpsichord and Strings in E major, BVW 1053: 2. Siciliano
Concerto for Harpsichord and Strings in E major, BVW 1053: 3. Allegro
Concerto for Harpsichord and Strings in D major, BVW 1054: 1. (without tempo indication)
Concerto for Harpsichord and Strings in D major, BVW 1054: 2. Adagio e piano sempre
Concerto for Harpsichord and Strings in D major, BVW 1054: 3. Allegro

Tracks:

Concerto for Harpsichord and Strings in A major, BWV.1055: 1. Allegro
Concerto for Harpsichord and Strings in A major, BWV.1055: 2. Larghetto
Concerto for Harpsichord and Strings in A major, BWV.1055: 3. Allegro ma non tanto
Concerto for Harpsichord and Strings in F minor, BWV.1056: 1. (Without Tempo Indication)
Concerto for Harpsichord and Strings in F minor, BWV.1056: 2. Largo
Concerto for Harpsichord and Strings in F minor, BWV.1056: 3. Presto
Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV1057: 1. (Without Tempo Indication)
Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV1057: 2. Andante
Concerto for Harpsichord, 2 Recorders and Strings in F major, BWV1057: 3. Allegro assai
Concerto for Harpsichord and Strings in G minor, BWV1058: 1. (Without Tempo Indication)
Concerto for Harpsichord and Strings in G minor, BWV1058: 2. Andante
Concerto for Harpsichord and Strings in G minor, BWV1058: 3. Allegro assai
Concerto for 2 Harpsichords and Strings in C minor, BWV1060: 1. Allegro
Concerto for 2 Harpsichords and Strings in C minor, BWV1060: 2. Adagio
Concerto for 2 Harpsichords and Strings in C minor, BWV1060: 3. Allegro

Tracks:

Concerto for 2 Harpsichords and Strings in C major, BWV1061: 1. (Without Tempo Indication) - Nicholas Kraemer
Concerto for 2 Harpsichords and Strings in C major, BWV1061: 2. Adagio ovvero Largo - Nicholas Kraemer
Concerto for 2 Harpsichords and Strings in C major, BWV1061: 3. Fuga - Nicholas Kraemer
Concerto for 2 Harpsichords and Strings in C minor, BWV1062: 1. (Without Tempo Indication) - Nicholas Kraemer
Concerto for 2 Harpsichords and Strings in C minor, BWV1062: 2. Andante - Nicholas Kraemer
Concerto for 2 Harpsichords and Strings in C minor, BWV1062: 3. Allegro assai - Nicholas Kraemer
Concerto for 3 Harpsichords and Strings in D minor, BWV.1063: 1. (Without Tempo Indication) - Nicholas Kraemer
Concerto for 3 Harpsichords and Strings in D minor, BWV.1063: 2. Alla Siciliana - Nicholas Kraemer
Concerto for 3 Harpsichords and Strings in D minor, BWV.1063: 3. Allegro - Nicholas Kraemer
Concerto for 3 Harpsichords and Strings in C major, BWV1064: 1. Allegro - Nicholas Kraemer
Concerto for 3 Harpsichords and Strings in C major, BWV1064: 2. Adagio - Nicholas Kraemer
Concerto for 3 Harpsichords and Strings in C major, BWV1064: 3. Allegro - Nicholas Kraemer
Concerto for 4 Harpsichords and Strings in A minor, BWV.1065: 1. (Without Tempo Indication) - Nicholas Kraemer
Concerto for 4 Harpsichords and Strings in A minor, BWV.1065: 2. Largo - Nicholas Kraemer
Concerto for 4 Harpsichords and Strings in A minor, BWV.1065: 3. Allegro - Nicholas Kraemer

Tracks:

Concerto for Flute, Violin, Harpsichord, Strings, and Basso Continuo in A minor, BWV1044 'Triple Concerto': 1. Allegro
Concerto for Flute, Violin, Harpsichord, Strings, and Basso Continuo in A minor, BWV1044 'Triple Concerto': 2. Adagio, ma non tanto, e dolce
Concerto for Flute, Violin, Harpsichord, Strings, and Basso Continuo in A minor, BWV1044 'Triple Concerto': 3. Allabreve
Concerto for Oboe, Violin, Strings, and Basso Continuo in C minor: 1. Allegro
Concerto for Oboe, Violin, Strings, and Basso Continuo in C minor: 2. Adagio
Concerto for Oboe, Violin, Strings, and Basso Continuo in C minor: 3. Allegro
Concerto for Oboe d'amore, Strings and Basso Continuo in A major: 1. (Without Tempo Indication)
Concerto for Oboe d'amore, Strings and Basso Continuo in A major: 2. Larghetto
Concerto for Oboe d'amore, Strings and Basso Continuo in A major: 3. Allegro ma non tanto

Tracks:

Concerto for Violin, Strings and Continuo in A minor, BWV.1041: 1. (Allegro moderato) - Simon Standage
Concerto for Violin, Strings and Continuo in A minor, BWV.1041: 2. Andante - Simon Standage
Concerto for Violin, Strings and Continuo in A minor, BWV.1041: 3. Allegro assai - Simon Standage
Concerto for Violin, Strings and Continuo in E major, BWV.1042: 1. Allegro - Simon Standage
Concerto for Violin, Strings and Continuo in E major, BWV.1042: 2. Adagio - Simon Standage
Concerto for Violin, Strings and Continuo in E major, BWV.1042: 3. Allegro assai - Simon Standage
Concerto for 2 Violins in D minor, BWV.1043: 1. Vivace - Simon Standage
Concerto for 2 Violins in D minor, BWV.1043: 2. Largo ma non tanto - Simon Standage
Concerto for 2 Violins in D minor, BWV.1043: 3. Allegro - Simon Standage

Customer Reviews:

A Premier Bach Series Recording.......2007-03-26

I purchased these recordings nearly 20 years ago, when Deutsche Gramophone was still selling them as five individual discs, and at over $20 per disc. With the re-release of the set of all five discs in a single, price-reduced "Collectors Edition" box set, the price has fallen by more than half, making this one of the outstanding values for high-quality Bach recordings on today's market.

But what about the performances? Here's the best way I can sum it up. Having listened to these disks for some two decades, in the car, on the main home stereo system, on portable equipment, on the boom box, and etc., etc., it is, I imagine, inevitable that one ends up memorizing nearly every note. And with that familiarity comes the ability to detect flaws in the performance, missteps, missed beats, the occasional off-tone instrument. Here's the rub: it is difficult to locate any significant flaw in the performances. These performances are about as perfect as one can get, but having said that, there is more. The sound reproduction of this recording remains near or at the top of any Bach recordings with which I've become familiar, and remains in my own thinking the de facto standard by which other performances should be measured.

Sound too good to be true? Pick up a set and see for yourself. And then relish the thought that you paid $40 for a set worth far more.

A nice way to complete your collection of Bach's concertos..........2007-02-21

...and cheap to boot. This, paired with the Brandenburg Concertos/Overtures compilation from Arkiv (also featuring Pinnock and the English Concert), gives any new Bach fan a fairly complete account of Bach's instrumental orchestral output. This particular package includes all of Bach's keyboard concertos (played exceptionally well by Pinnock), all of his violin concertos, and also his Triple Concerto (Harpsicord, Flute and Violin), several works for Oboe and Oboe D'Amour, and several double concertos (2 violins, and oboe and violin). Highlights are the D Minor Harpsicord concerto BWV 1052, the C Major concerto for 2 Harpsicords BWV 1061, the Oboe D'Amour concerto BWV 1055, the double concerto BWV 1060, and the violin concertos.
This set sounds fantastic and is a great value to boot. Strongly recommended for those who loved Bach's Bradenburg concertos and Overtures and are looking for something new to sink their teeth into.

"Best Bach - Box Set".......2005-11-06

This is undoubtedly the best Back box set I have heard. These Concerto's for Harsichord, Violin, Flute and Oboe are among the finest in classical music. Although the Harpsichord volume level could have been a bit higher overall the recordings are very good. I am very pleased with this CD set with so much music at a very good price. This is truly a collectors gem.

Pinnock is good performer.......2005-09-30

Pinnock is good performer...I drop one start because BWV 1052-58
Might sound better when it's played piano.

Unbeatable Value.......2004-12-15

This set offers unbeatable value. The performances are uniformly excellent. Pinnock's Bach is brisk and sprightly when it should be, but also tender and relaxed when it must be. He is not afraid to slow down and savour the music, unlike many period-performance specialists. He is one of the world's great harpsichordists and his partners in the multiple concerti are also excellent. Simon Standage yields nothing to better-known soloists in the violin concerti.

The sound is clear, deep, and only a little bit on the bright side.

While you're at it, buy the Pinnock/English Concert complete Mozart symphonies. Sure, Mozart's first fifteen or so aren't anything special, but the set is superb and the price unbelievable.

Average customer rating:

Masterful
this is very-very good
Sparkling Wit
Wonderful, but don't forget Hae-won Chang
Another stunning Perahia/Bach disc

Bach: Keyboard Concertos Nos. 1, 2 & 4

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bach: Keyboard Concertos Nos. 3, 5, 6, 7
Bach: Goldberg Variations
Bach: English Suites Nos. 1, 3 & 6
Bach: English Suites Nos. 2, 4 & 5 / Perahia
Songs Without Words

ASIN: B00005A8IB
Release Date: 2001-03-13

Tracks:

Keyboard Concerto No. 1 In D Minor, BWV 1052: I. Allegro
Keyboard Concerto No. 1 In D Minor, BWV 1052: II. Adagio
Keyboard Concerto No. 1 In D Minor, BWV 1052: III. Allegro
Keyboard Concerto No. 2 In E Major, BWV 1053: I. { }
Keyboard Concerto No. 2 In E Major, BWV 1053: II. Siciliano
Keyboard Concerto No. 2 In E Major, BWV 1053: III. Allegro
Keyboard Concerto No. 4 In A Major, BWV 1055: I. Allegro
Keyboard Concerto No. 4 In A Major, BWV 1055: II. Larghetto
Keyboard Concerto No. 4 In A Major, BWV 1055: III. Allegro ma non tanto

Amazon.com

This disc may not prove as indispensable as Perahia's splendid Goldberg Variations. The most trivial reason is that it doesn't have as much music on it (only 53:04). But the appeal may also be not as wide. The Goldberg performance encompasses as wide a range of expression as the music does--which is really saying something! This concerto disc is more uniform in style, thoroughly modern and generally rather hard-driving. Perhaps the tension was generated by the interplay of pianist-conductor and orchestra, but it's palpable throughout. This does keep your attention riveted on the music, although it leaves some aspects of Bach unexpressed. If you're willing to go along for the ride, though, the disc does have a lot to offer. Perahia's execution is superb, and he decorates the text with his own trills and embellishments in a very convincing way. The orchestra keeps things moving right along. This may be a somewhat one-sided approach to Bach, but it certainly is stimulating. --Leslie Gerber

Customer Reviews:

Masterful.......2007-01-20

Like all the other reviewers below, this recording has me singing its praise. Perahia's playing is stunning and St Martin in the Fields delivers a beautiful sound. This cd (and the second set) is well worth your money. Also, if you enjoy Bach's Brandenberg Concertos, listen to his 6th Keyboard Concerto - it is the 4th Brandenberg Concerto for piano.

this is very-very good.......2003-02-20

First of all, it is a speechless joint effort of the creator of the music and the presenter of the product from 100s of years ago, which sounds like it will glow forever.
Last of all
I cannot say any thing more but listen.
emil
from Middle East

Sparkling Wit.......2002-07-04

Of course Perhaia is a great pianist and the Academy of St. Martin in the Fields is a great ensemble. But here I believe we get more than just the sum of the two. I was fortunate to hear a concert of Perhaia and St. Martin in the Fields here in Ann Arbor and they performed the first of these concertos. I have to tell you that the piece is so full of wit and fun that I chuckled out loud (softly).

You know that you have great musicians performing when they have so much command and understanding of what they are playing that they are willing to tell the musical jokes (witty jokes) with subtlety and grace. This is wonderful stuff.

The playing is tight, with the players listening to each other in ways that are too often ignored in larger ensemble pieces. Imitations and joint phrases are actually pulled off like they are in a string quartet. Yes, the Academy is a smaller orchestra that usually performs without a conductor so they are used to ensemble playing. This is just proof that they have accomplished what they set out to do. An chamber orchestra that plays as if it were a single musical instrument with almost endless musical colors and capabilities.

The other two concertos are just as great and fun as the first. There is also a companion disk with 3,5,6, and 7. So, there is even more to enjoy!

Wonderful, but don't forget Hae-won Chang.......2002-05-28

Mr Perahia is never short of wonderful, but those of us who love music but baulk at full price should consider the two Hae-won Chang discs of Bach keyboard concertos on Naxos. Miss Chang is always inventive, always musical - she plays like an angel - and the eastern European orchestra is supportive and fresh. Mr Perahia is, simply, one of the great pianists but Hae-won's Bach is just fabulous (too).

Another stunning Perahia/Bach disc.......2002-05-25

This is one of the worlds greatest pianists and togheter with Academy of St. Martin in the fields and good sound-engineering this keybord concertos sounds lively, fresh, lyrical and it comes without any ego-mannerism.

Perahia shows on this disc(and his other Bach discs) why he has won grammys, been nominated a couple of times too and more imprtent than a grammy, musically speaking :-) get last years Grammophone award for best instrumental album.

My only complain about this SET/DISC (not about the music) is that it could been more filled up (it is a bit short only ca 53-54 minutes) otherwise music, performance, sound is stunning.

This one with Perahia et al he played conertos by modern Steinway piano instrument and my choise for harpsichord/clavecin, having concerto no. 1, BMW 1052 on it, is Pirre Hantai and le concert francais on record company Astrée/naive 1994 (remastred 2001 -excellent sound). Hantais superb versions also contains BMW 1054 from Perahia Bach keybord concertos including no.3, no.5-7.

On this well performed disc Sony engineers could have tuned up that theorbo (bass lute) a little more and not put it so much in the background but it is a minor because othervise it is a very well engineered disc.

Tracks:

Allegro
Adagio
Allegro
Allegro
Siciliano
Allegro
Allegro
Larghetto
Allegro Ma Non Tanto
Allegro
Largo
Presto

Amazon.com

So little documentary evidence remains of Bach (many of his major works are still lost without trace) that the survival of his seven harpsichord concertos assumes great significance. From these works, we can learn much about scoring that elsewhere has had to be conjectured; their origin as concertos for violin or oboe adds to the fascination. Until Bach put it in center stage, nobody had thought of the harpsichord as a solo instrument: it was with these works that a new genre came into being that would culminate in the concertos of Mozart and Beethoven. And they still dazzle today. Naxos's battery of soloists, led by the musicologist Robert Hill, is extremely good, working up exhilarating miasmas of sound above the accompanying orchestra. But this orchestra embodies the concept of historical practice on modern instruments, which raises all sorts of questions. In both pitch and tone quality, they are irredeemably modern: the "period" element is somewhat elusive. But as musical archaeologists they are invaluable: this CD comes as part of Naxos's excellent eight-disc box of all of Bach's major orchestral works. --Michael Church

Customer Reviews:

Simply perfect!.......2006-05-09

This CD is marvellous! The sound, the performance, the conducting... everything is absolutely perfect! I've heard other five CDs which contain the same harpsichord concertos and I can assure that this is undoubtedly the best! An it's the cheaper too! This Naxos collection of the complete Bach's orchestral works are outstanding!

Amazing find.......2005-11-02

I have been looking for a harpsichord version of BWV 1056 for quite a while before I came across this modest, budget release. The price may be low, but the performances are excellent, lively and fresh sounding, with very interesting ornamentations. The sound quality, sometimes an issue with Naxos CDs, is just as good. At this price, this particular album, along with Volume II of the same collection, are highly recommended CDs for anyone interested in Bach keyboard works, or just great Baroque music.

Absolutely Spellbounding!!!.......2005-09-01

I am an amateur keyboardist and this is my humble opinion of this CD.
As a Baroque keyboard geek I can say that this is, if not, the most wonderful version that I have heard of these Bach Harpsichord Concertos. This is the first Orchestra that I have heard that has played the appoggiaturas in the second movement of the first concerto in D minor as written in the autographed score of Bach. The added ornamenation that is done by Robert Hill is very tasteful and makes this concerto extremely exciting. I would love to have Harpsichord lessons from him. I point out Robert Hill but all of the soloists are gifted performers. The Orchestra takes some chances with the tempos and play some movements quite quickly. I prefer them this way. They feel and sound better. Their (the Orchestra) playing is wonderfully soothing in the slow movements and dance-like and electrifying in the faster tempos. I cannot wait to listen to the others. Bravo!!!

Harpsichord-NOT PIANO concertos!!!!!!!!!!!!!!!!!.......2001-07-17

This is THE BEST cds made by Naxos! I jave listened to this disc about 5 TIMES!!! My favorite is the Concerto in d-minor. I love the tempi. The first mvt. has a special character to it, almost dance like. It is also found as the Instrumentatz to Cantata 146. Movement two is rather sorrowfull, almost depicting Christ's agonizing march to the crucifix. The grace notes depict the stumbles Christ made. Finally mvt.3 expresses joy in a minor mode (I couldn't think of a religous plot to accompany it.) The rest of the Concertos are quite interesting and fun to listen to. Another favorite is the second mvt. to 1056 in f-minor. It is taken from (vise versa) Cantata 156. The Harpsichordists do a wonderful job.

Budget Favorite.......2000-06-20

The Naxos edition of Bach's Orchestral Works is superb. My particular favorite is this volume of the Harpsichord Concerti which features original instrument versions of works Glenn Gould recorded in the 1960's on piano. There is a marvelous airy quality to the sound. Most of the tempi here are very fast, at least as rapid as Gould took them, and sometimes slightly faster. This is not the slow, stately chamber music approach, its more like Baroque night at the Hop! Played at these tempi, these concerti really have a dance music feel.

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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J.S. Bach: Complete Piano Concertos Vol. 2
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Bach: Harpsichord Concertos 1
Bach: Harpsichord Concertos 3
Bach: Harpsichord Concertos 2

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.

Average customer rating:

Great all around - especially Mozart
Rampal: master flutist of the 20th Century
great!

The Great Flute Concertos

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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The Best Of Jean-Pierre Rampal
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Flute Master Pieces
Mozart - The Flute Quartets, K. 285 · K. 285a · K. 285b · 295 / Rampal · Stern · Accardo · Rostropovich
60 Years 60 Flute Masterpieces (Highlights)

ASIN: B0000027VU
Release Date: 1992-01-28

Tracks:

Concerto For Flute & Orchestra in D Major, Op. 10, No. 3, RV 428 'Ill gardellino' (The Goldfinch - Der Stieglitz - Chardonneret: I. Allegro
Concerto For Flute & Orchestra in D Major, Op. 10, No. 3, RV 428 'Ill gardellino' (The Goldfinch - Der Stieglitz -: II. Largo
Concerto For Flute & Orchestra in D Major, Op. 10, No. 3, RV 428 'Ill gardellino' (The Goldfinch - Der Stieglitz -: III. Alegro
Concerto for Flute & Orchestra in F Major, Op. 10, No. 1, RV 433 'La tempesta di mar' (The Storm at Sea - Der Sturm auf dem Meer - Tempete en mer): I. Allegro
Concerto for Flute & Orchestra in F Major, Op. 10, No. 1, RV 433 'La tempesta di mar' (The Storm at Sea - Der Sturm auf dem Meer - Tempete en mer: II. Largo
Concerto for Flute & Orchestra in F Major, Op. 10, No. 1, RV 433 'La tempesta di mar' (The Storm at Sea - Der Sturm auf dem Meer - Tempete en mer: III. Presto
Concerto for Flute, Strings and Basso continuo in G minor , BWV 1056: I. ...
Concerto for Flute, Strings and Basso continuo in G minor , BWV 1056: II. Largo
Concerto for Flute, Strings and Basso continuo in G minor , BWV 1056: III. Presto
Concerto for Flute, Strings and Bass continuo in C Major, BWV 1055: I. Allegro
Concerto for Flute, Strings and Bass continuo in C Major, BWV 1055: II. Larghetto
Concerto for Flute, Strings and Bass continuo in C Major, BWV 1055: III. Allegro ma non tanto
Suite for Flute & Orchestra in A minor: Ouverture
Suite for Flute & Orchestra in A minor: Les Plaisirs
Suite for Flute & Orchestra in A minor: Air a l'italien
Suite for Flute & Orchestra in A minor: Menuets I & II
Suite for Flute & Orchestra in A minor: Rejouissance
Suite for Flute & Orchestra in A minor: Passepieds I & II
Suite for Flute & Orchestra in A minor: Polonaise

Tracks:

Concerto for Flute & Orchestra in G Major, KV 313 (285c): I. Allegro maestoso
Concerto for Flute & Orchestra in G Major, KV 313 (285c): II. Adagio ma non troppo
Concerto for Flute & Orchestra in G Major, KV 313 (285c): III. Rondeau: Tempo di Menuetto
Concerto for Flute & Orchestra in D Major, Kv 314 (285d): I. Allegro aperto
Concerto for Flute & Orchestra in D Major, Kv 314 (285d): II. Andante ma non troppo
Concerto for Flute & Orchestra in D Major, Kv 314 (285d): III. Allegro
Concerto for Flute, Harp and Orchestra in C Major, K. 299 (297c): I. Allegro
Concerto for Flute, Harp and Orchestra in C Major, K. 299 (297c): II. Andantino
Concerto for Flute, Harp and Orchestra in C Major, K. 299 (297c): III. Rondeau

Customer Reviews:

Great all around - especially Mozart.......2005-06-30

Every concerto/piece for flute and orchestra presented here can stand as the very pinnacle of performance and interpretation. Rampal and friends play with all the logic and song of the French school. I would like to commend the Mozart G Major concerto in particular, as Rampal's is the best performance I know (I've heard a better one, but that was on internet radio and I wasn't able to find out who performed it - I'm still searching). I have heard 10 other G Majors, all by worthy soloists with the likes of the VPO or LSO accompanying, and none can outdo Rampal's passionate yet low-key style with the absolutely glorious Israel Philharmonic (you might never have heard them - and you'll wonder why!) with a reasonably alert Zubin Mehta at the helm. The balance is wonderful, with the delicate middle string parts coming through clearly (shame on you, DG and Decca). If only Karl Boehm had been around to wave the stick for these Mozart recordings (The D Major and C Major here are also magnifcent, by the way), this would likely be hands-down the only set of Mozart concertos you'll ever need. Nevertheless, they are pretty darn close.

Every piece on these discs is wonderful, and I urge you to get them as quickly as possible. The style and wit of these recordings are not to be missed at any cost. As the English flutist William Bennett, whose recordings you should look into if you play flute, once told me, "Be a light person - like Jean-Pierre Rampal!"

Rampal: master flutist of the 20th Century.......2003-08-17

The late Jean-Pierre Rampal, whom I had the pleasure to meet and chat with in the 1980's, is a "triple threat" man, in analogy to the football term. Some fine players impress with their technique. I am swept along by Rampal's renditions in a way that makes me forget all about technique - except for miraculous nuances every now and then that remind me that Rampal recreates every work with a creative, perceptive mind. For example, in Vivaldi's "Goldfinch" concerto Rampal, as almost afterthoughts, puts in exquisite little embellishments that literally makes a little bird come to life. It's a miraculous sound. Too bad Antonio Vivaldi couldn't have heard it.

Rampal has other qualities that stand out in his recordings. He was well aware that most of the best flute music was composed in the Baroque and Classical eras, and sought out the very best, well known or rare, in these genres - while not being limited to these periods.

Finally, Rampal was picky about the ensembles he played with and the recording companies who did the technical work for his recordings. The ensembles might be famous or little known, but always high-quality cooperators. The result is nearly always, as in this case, brilliant, clear, and balanced.

Five stars gets used frequently in recording reviews - it's too little for this recording.

great!.......2001-01-04

i play the flute in my high school band and i love flute music, this cd is so beautiful! i highly reccomend this cd to any flutest!

Average customer rating:

Exhilarating
The Lightness of Joy
A mix of good and not so good
Wonderful but
Fans of Hewitt will rejoice; everyone else may look askance

Bach - The Keyboard Concertos Vol 1
Bach , Angela Hewitt , Richard Tognetti , and Australian Chamber Orchestra
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bach - The Keyboard Concertos Vol 2
Bach: Fantasia in C minor; Two-Part Inventions; Three-Part Inventions; Chromatic Fantasia & Fugue
Goldberg Variations
Bach: French Suites / Angela Hewitt
Bach: The Well-Tempered Clavier (book 1)

ASIN: B0009K9P7K
Release Date: 2005-06-13

Tracks:

Allegro
Adagio
Allegro
(First Movement)
Andante
Allegro Assai
Allegro
Affettuoso
Allegro
Allegro
Adagio Ma Non Tanto E Dolce
Tempo Di Alla Breve

Amazon.com

This delectable collection of Bach Keyboard concertos is so unsullied by tradition or a point to prove that the listener is left refreshed. Angela Hewitt plays with such warmth and song-like smoothness in the slow movements that they are little islands of repose in the midst of Bach's perky outer movements, which Hewitt and conductor-violinist Richard Tognetti launch with unmatched verve, rhythmic thrust and quick-but-never-rushed tempi. The Fifth Brandenburg and the Triple Concerto also call for a violin and flute and Togneti and Alison Mitchell are ideal partners to Hewitt: the give and take seems simply like great "jamming." Every note is clear and each soloist (and the fine Australian Chamber Orchestra) adds ornaments which are pert and welcome. The big cadenza in the Fifth Brandenburg is like liquid--beautifully flowing and well-articulated by Hewitt--and while the virtuosity is never in doubt, she never draws attention to herself. She plays a modern piano and the Orchestra play modern instruments, but early-music performance practice and style are very much in evidence (including a harpsichord in the continuo section). This is Bach playing of the highest order and splendid entertainment. --Robert Levine

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:

Exhilarating.......2007-07-12

This is a stupendous CD. Angela Hewitt's glorious and sensitive touch is beautifully matched by the precision and vitality of the ACO. Although some reviewers have decried the performance of Brandenburg No. 5, to me this is a highlight. The solo at the end of the first movement is rivetting.

If I wanted to introduce someone to the glories of Bach, this is the CD I'd play to them. Turn it up loud and rejoice.

The Lightness of Joy.......2007-01-19

Not being a musician, I cannot comment on any technical aspect of the performers' playing (except that the concertos sound just fine with a piano used as a solo instrument and a harpsicord used only as continuo).

However, having now listened to both volumes of the Keyboard Concertos several times, I know how they affect me - every time I listen, I feel better...lighter...simply more joyful.

George Leigh Mallory -- he of "Because it's there" Mount Everest fame -- also said what must surely apply to these performances: "What we get from this ... is just sheer joy. And joy is, after all, the end of life. We do not live to eat and make money; we eat and make money to be able to enjoy life. That is what life means and what life is for."

A mix of good and not so good.......2006-03-02

A problem for me with performances of harpsichord music on pianos is that the pianist often uses way too much pedal. Not that I want a piano to sound like a harpsichord-- but the cadenza at the end of the first movement of Brandenburg 5 did make me cringe. It was so smeared that sometimes notes disappeared. In other places, there seemed to be very out of place fortissimos that distracted one from the line of the music. All that said, Hewitt excellent pianism often shines through-- I was hearing musical lines that have not been in evidence in other recordings.

The soloist performance I'd rate 3 stars; the support of the Australian Chamber Orchestra and the generally excellent sound bumps the overall rating to 4.

Wonderful but.......2006-02-26

I very much enjoyed Angela Hewitt's playing in Bach's keyboard concertos. Some might quibble that they are played on a piano, but horses and carts have also been replaced by motor cars. The ACO is one of Australia's treasures - described in London as the world's best chamber orchestra - and it gives Hewitt wonderful support. (The prolific reviewer Larry VanDeSande has eleswhere described the ACO as "a scrawny sounding period band" but LVDS seems to have sacrificed integrity for effect - he might equally describe the Chicago orchestra as "overblown and conventional"). The real problem with Hewitt and the ACO is that equally fine performances at a fraction of the cost can be found on Naxos with Hae-won Chang (piano) and the Camerata Cassovia. Fair dinkum and I kid you not.

Fans of Hewitt will rejoice; everyone else may look askance.......2005-11-12

You never know what's going to come back into style in classical music, do you? With Murray Perhaiah and now Angela Hewitt playing the Brandenburg Concerto No. 5 from the modern grand piano, we seemingly have gone backwards in time to the era of the great pianists and wax recordings in the early 20th century.

Hewitt plays the traditional Bach keyboard concerti Nos. 1 and 7 from the piano and contributes a performance of the Bach "Triple" Concerto from the concert grand to fill out this well-stocked disk of Bach wonders. I only wish I had more wonderful things to say about the goings on.

What I find most unattractive about these renditions -- aside from the very unstylistic inclusion of a concert grand piano in the Brandenburg and Triple concerti -- is the way the combined forces mix styles.

In the opening Concerto No. 1 for keyboard, Hewitt at times produces a sonority that is more appropriate for Brahms than Bach. She is matched by a scrawny sounding period band from Autstralia. This combination of Brahmsian piano and period string band...well, it just doesn't come off very well for me.

Other than her occasionally overripe tone and romantic sonority, I don't quibble with Hewitt's approach for the most part. She is a known commodity in Bach and her work here is similar to everything else she's done with this composer. Only a highly romanticized cadenza at the conclusion of the Triple Concerto -- which probably comes off best among the four concerti recorded here -- seems wayward.

On the pluse side, the opening movement of the Concerto No. 1 is pushed very hard in Bach style and the middle section of the Concerto No. 7 is very beautiful. It works well in the piano concertos but elsewhere seems to me to be a step backward to a time when people thought Bach surely must have meant to include a concert grand piano where he only had the limitations of the clavichord and harpsichord at his disposal.

Where this error in judgment is most apparent is in the Brandenburg Concerto No. 5. Listen to that long harpsichord solo at the end of the first movement by any good recording using a harpsichord, then come back to this recording and notice the way the piano not only lacks color throughout the concerto but almost seems to disappear at the same junction.

At other times, the concerto grand overwhelms the thin tone of Richard Tognetti's violin and Alison Mitchells flute, both here and in the Triple Concerto. This, to me, is what most renders this recording a curiosity and not essential Bach musicmaking.

I think this recording will be accepted with open arms by fans of Hewitt and those that hanker for a return to the era of Alfred Cortot's recordings of the Brandenburgs circa 1931. For others, this recording will more likely be considered an oddity to be heard once and discarded.

Average customer rating:

Bach: Three Keyboard Concertos

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0001FGB0M
Release Date: 2004-02-24

C.P.E. Bach - Hamburg Concertos / Melante Amsterdam · Bob van Asperen

Average customer rating:

I only have the LP
Van Asperen brings back the sounds of Hamburg

C.P.E. Bach - Hamburg Concertos / Melante Amsterdam · Bob van Asperen
Carl Philipp Emanuel Bach , Bob van Asperen , and Melante Amsterdam
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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CPE Bach: Symphonies (Wq 182, 183); Cello Concertos (Wq 170-172) /Bylsma * OAE * Leonhardt
C.P.E. Bach: Hamburg Sinfonias Nos. 1-6
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Cannabich: Symphonies Nos. 59, 63, 64, 67, 68

ASIN: B00005A9NR
Release Date: 2001-10-09

Tracks:

Con in c, Wq 43 No.4: I. Allegro Assai
Con in c, Wq 43 No.4: II. Poco Adagio
Con in c, Wq 43 No.4: III. Tempo Di Minuetto -
Con in c, Wq 43 No.4: III. Allegro Assai
Con in G, Wq 43 No.5: I. Adagio - Presto
Con in G, Wq 43 No.5: II. Adagio
Con in G, Wq 43 No.5: III. Adagio
Con in D, Wq 43 No.2: I. Allegro Di Molto - Andante - Allegro Di Molto - Andante - Allegro Di Molto
Con in D, Wq 43 No.2: II. Andante
Con in D, Wq 43 No.2: III. Allegretto

Tracks:

Con in C, Wq 43 No.6: I. Allegro Di Molto
Con in C, Wq 43 No.6: II. Larghetto
Con in C, Wq 43 No.6: III. Allegro
Con in E flat, Wq 43 No.3: I. Allegro
Con in E flat, Wq 43 No.3: II. Larghetto
Con in E flat, Wq 43 No.3: III. Presto
Con in F, Wq 43 No.1: I. Allegro Di Molto
Con in F, Wq 43 No.1: II. Andante
Con in F, Wq 43 No.1: III. Prestissimo

Customer Reviews:

I only have the LP.......2005-03-12

I purchased the LP back in 1985 and fell in love with these concertos. C.P.E. Bach's style isn't for everyone. However, I've always found his music original and very entertaining. So different from the curtsey stuff you hear from composers from the "stil galant", Bach really does his own thing. These particular concertos are alot of fun. Composed during Bach's mature period in Hamburg, there is alot of interesting theme development and crazy little runs that Emmmanuel loved to compose. I haven't seen any of these concertos on other releases so this might be a rare opportunity to possess these wonderful concertos.

I welcome feedback on this and all reviews at wstrnlibwarrior@yahoo.com

Van Asperen brings back the sounds of Hamburg.......2001-10-21

Up front, let me say that the performers here (not listed by Amazon at this writing) are Bob van Asperen, soloist and conductor, directing Melante Amsterdam.

This recording from the early 1980s, finally released on CD, presents C.P.E. Bach's six harpsichord concerti, Wq. 43 (Helm 471-6). The timing is rather short weight for a 2 CD set, clocking in at just under 90 minutes (and in the original 1984 issue of this recording, which I chanced upon in a secondhand bookstore in 1998, the whole thing fit on a "double play cassette"). Nevertheless, this is a very welcome addition to the C.P.E. discography, consisting of what appears to be the only complete recording of this set of concertos. The only other disc of this music I have found contains only one of the concertos, Wq. 43/5 (Trevor Pinnock's 1975 recording "Sons of Bach" on CRD, catalog number 3311).

Each of these concertos are clever little works that average about 15 minutes each, sometimes experimenting with cyclical and reprise forms (such as the c minor and G Major concertos), often indulging in the unexpected and in musical wit, in Emanuel's most characteristic style (e.g., the unusual keys of the middle movements, or of the E flat's finale, which launches in f minor before "righting itself" in the home key).

Van Asperen and his forces play with verve and a good sense of the style; they are clearly quite at home in Emanuel's "empfindsam" vein. A few oddities about the set are easily borne, such as the retention of the order of the original 1984 release (for some reason, the concertos were placed in the order 4, 5, 2, 6, 3, 1, instead of the way C.P.E. published them; surely this could have been rectified in the CD reissue), or van Asperen not playing continuo during concertos 4 and 5, but only the solos (compare Pinnock's recording of no. 5, where the continuo is played under the "tutti" portions throughout; perhaps van Asperen was busy using his hands to direct the Melante players?).

Tracks:

Brandenburg Concerto No.1 In F Major, BWV 1046: l Allegro
Brandenburg Concerto No.1 In F Major, BWV 1046: ll Adagio
Brandenburg Concerto No.1 In F Major, BWV 1046: lll Allegro
Brandenburg Concerto No.1 In F Major, BWV 1046: lV Menuetto: Trio l
Brandenburg Concerto No.1 In F Major, BWV 1046: V Polacca: Trio ll
Brandenburg Concerto No.2 In F Major, BWV 1047: l Allegro
Brandenburg Concerto No.2 In F Major, BWV 1047: ll Andante
Brandenburg Concerto No.2 In F Major, BWV 1047: lll Allegro assai
Brandenburg Concerto No.3 In G Major, BWV 1048: l Allegro
Brandenburg Concerto No.3 In G Major, BWV 1048: ll Allegro
Brandenburg Concerto No.4 In G Major, BWV 1049: l Allegro
Brandenburg Concerto No.4 In G Major, BWV 1049: ll Andante
Brandenburg Concerto No.4 In G Major, BWV 1049: lll Presto

Tracks:

Brandenburg Concerto No.5 In D Major, BWV 1050: l Allegro
Brandenburg Concerto No.5 In D Major, BWV 1050: ll Affettuoso
Brandenburg Concerto No.5 In D Major, BWV 1050: lll Allegro
Brandenburg Concerto No.6 In B Flat Major, BWV 1051: l Allegro
Brandenburg Concerto No.6 In B Flat Major, BWV 1051: ll Adagio ma non Troppo
Brandenburg Concerto No.6 In B Flat Major, BWV 1051: lll Allegro
Concerto for violin, oboe & strings in D Minor (from BWV 1060): l Allegro
Concerto for violin, oboe & strings in D Minor (from BWV 1060): ll Adagio
Concerto for violin, oboe & strings in D Minor (from BWV 1060): lll Allegro
Concerto For flute And Strings In G Minor (From BWV 1056): l Allegro
Concerto For flute And Strings In G Minor (From BWV 1056): ll Largo
Concerto For flute And Strings In G Minor (From BWV 1056): lll Presto

Amazon.com

Benjamin Britten's Bach is a "middle-of-the-road" version of these delightful works. They offer no startling departures from the Baroque style favored in the 1960s, but are ripe, polished performances with a fearless trumpet soloist in No. 2, and outstanding flute and violin solos throughout. Modern instruments and moderate tempos may seem stodgy these days, but there's integrity in Britten's music-making and this set, recorded in 1968, still sounds fresh, easily holding its own against more recent versions. As an added attraction, London includes concerti for violin and oboe, and flute and strings, both done in the 1970s with Neville Marriner leading light and springy readings of distinction. --Dan Davis

Customer Reviews:

Bach for Aristocrats.......2007-07-08

Britten's Brandenburgs are not hell-bent for leather, nor "historically informed", but very well-played in a grand and stately manner suggestive of a great composer respectfully conducting the work of another from a different era. The remastered analog recording from 1969 is excellent with a warm bloom surrounding the intimate soundscape.

I play these for a change-up on music that can become overly familiar, but that almost no one doesn't like at least once in a while.

ladida, ladida.......2007-03-09

Why is it that French horns can never play in tune with each other or the rest of the orchestra? Why, Why, Why!? If not for the french horns, this would be a very nice recording. These concertos are much cooler with the original instumentation, tho.

Authentic - In The Sense of True Authenticity.......2005-03-28

I am often bothered by those that think baroque music must be played on period instruments, and likewise by those that choose Mozart and Beethoven to be played in "authentic" means as well. Yes, the time period instruments do provide a different sound, but isn't music about the life that comes from the music, not the means of making the music? Music moves us not because we hear a strad or period orchestra wonderfully vibrating, but because we connect with the lines and melody of the sound being produced. These performances tastefully render the Brandenburg Concertos. They might not be sprightly, hold down Bach's instructions to a tee, or be played on period instruments, but they do convey Bach's written notes with wit and integrity, and with Bach especially, that's really all that is necessary for a moving performance. Let the music speak for itself, and stand alone - and in my opinion, that's all that is necessary here to create a wonderful effect.

Excellent Bach.......2004-07-02

Benjamin Britten and the English Chamber Orchestra do an excellent job of bringing out the "baroqueness" or the brandenburg concertos. I especially enjoyed the 6th concerto (what viola player wouldn't?), but I thought the 1st movement was a little slow, and a bit too legatoish, but i loved it none the less. The 3rd con. was also nice (3 viola parts- yeah!). I also liked the bonus flute and violin/oboe concertos. The flute concerto (origianally a harpsichord concerto and then a violin concerto) does have some shloops in the 1st and 3rd movements, in which case i prefer it being preformed on violin.

Overall, an outstanding recording that i highly recommend!!!!!!

Good modern recording.......2004-06-14

Some would say this recording isn't authentic because it uses modern instruments rather than period instruments. However, the English Chamber Orchestra is a wonderful ensemble, and Britten shows a real understanding for Bach's music. They create a very good Baroque sound with their modern instruments.

There are some movements (mvt 1 of concerto 1, mvt 2 of concerto 3, for example) that sound a bit heavy, either because of tempo or the intrumentation. They don't have the light, lively sound I think Bach intended.

Tracks:

Concerto for Piano and Orchestra No. 1 in D minor, BWV 1052
Concerto for Piano and Orchestra No. 1 in D minor, BWV 1052
Concerto for Piano and Orchestra No. 1 in D minor, BWV 1052
Concerto for Piano and Orchestra No. 2 in E Major, BWV 1053
Concerto for Piano and Orchestra No. 2 in E Major, BWV 1053
Concerto for Piano and Orchestra No. 2 in E Major, BWV 1053
Concerto for Piano and Orchestra No. 3 in D Major, BWV 1054
Concerto for Piano and Orchestra No. 3 in D Major, BWV 1054
Concerto for Piano and Orchestra No. 3 in D Major, BWV 1054

Tracks:

Concerto for Piano and Orchestra No. 4 in A major, BWV 1055
Concerto for Piano and Orchestra No. 4 in A major, BWV 1055
Concerto for Piano and Orchestra No. 4 in A major, BWV 1055
Concerto for Piano and Orchestra No. 4 in A major, BWV 1055Concerto for Piano and Orchestra No. 4 in A major, BWV 1055Concerto for Piano and Orchestra No. 4 in A major, BWV 1055
Concerto for Piano and Orchestra No. 4 in A major, BWV 1055
Concerto for Piano and Orchestra No. 4 in A major, BWV 1055
Concerto for Piano and Orchestra No. 7 in G minor, BWV 1058
Concerto for Piano and Orchestra No. 7 in G minor, BWV 1058
Concerto for Piano and Orchestra No. 7 in G minor, BWV 1058

Amazon.com essential recording

Glenn Gould was this century's greatest Bach player, so these legendary recordings are self-recommending. While other fine pianists have made powerful statements in this music, no one sounds anything like Gould. His phenomenal clarity of articulation, digital control, and well, just plain interesting way with the music set him completely apart from the competition. With playing of this individuality and quality, it's pointless to engage in any debate with respect to the appropriateness of the piano versus the harpsichord. Scholars and pedants may continue to argue, but the fact is, it doesn't matter. Great musicianship always serves great music best. --David Hurwitz

Customer Reviews:

The Best Performance Ever Achieved.......2007-02-12

This is a superlative recording of one of the most famous pieces by Kapellmeister Johann Sebastian Bach played by the best Bach interpreter, Mr. Glenn Gould. I value this recording so much that I often find myself avoiding listening to it too much because this recording is like a beautiful sunset, which should only be fully enjoyed without any wastefulness when all the conditions are ideal. I have owned this recording for many years, but I decided that I have no choice but to write a review now after reading a very gratuitous and childish review below by a certain [...]. While I do not care about the provincialism of other people, I was very worried that some novices reading that review might be mislead and coerced away from this most delightful recording and miss the experience of a lifetime.

For those that do not know, Glenn Gould is considered to be the best Bach interpreter of this century by the vast majority of non-professional listeners and professional artists. Gould's performances have become a standard; so much so that any new Bach performance on a piano is almost immediately compared to Gould. True, there are some critics who believe that Gould uses too much staccato in some of Bach's compositions, but nevertheless, if we remember that most of these pieces Bach had composed for a harpsichord, which is a staccato instrument by nature, we can understand why Gould would select such a radical approach.

Bach's fugues are very complex and often the performer is faced with a challenge to communicate three, four, or even more melodies simultaneously. A romantic, legato performance hopelessly mixes all the notes together drowning any possibility of expressing all these melodies at the same time - at best, some of the melodies go into the background, e.g., the left hand notes, while other melodies, like the notes for the right hand, come to the surface. Only a very scrupulous listening can reveal these melodies buried in the background. What makes so many people to fall in love with Glenn Gould is his uncanny ability to not only express all the melodies distinctly at the same time, but also to bring his left and right hand notes together into a mellifluous, sometimes tempestuous, freely flowing melody. Everything is right there for you to listen to.

Even if you are one of those harsh critics who absolutely cannot accept a staccato performance, I am sure that you will still like this performance because the recording flows so well that one can't argue that Glenn uses too much staccato. I am not a listener who is limited only to Gould. I embrace many different styles of performances simply because no one interpretation is the "only way." If you are very interested to hear how else these compositions can be performed, such as more romantically, I recommend you listen to these same compositions played by [...]. Both do an excellent job. You will also have the opportunity to compare these performances to Glenn Gould's interpretation. Additionally, I would recommend that you hear these concertos being performed on a violin, organ, and harpsichord. After so many years and so many different recordings I have realized that Gould's performance is the absolute best. It doesn't mean there aren't other excellent recordings; it means that Glenn adds something extra to the performance that somehow when you combine those extra features with the genius of Johann Sebastian Bach, you suddenly seem to reinvent one of the greatest works of arts of the Western Civilization.

This recording is indeed breathtaking. I have read several books on Bach's works and his biography and I have to say that his genius is divine, yet I am not even religious! Mozart and Beethoven, among numerous other composers, have revered Bach and learned from him as well. At least for me, there has never been any composer as powerful as Herr Bach. If you are new to Bach, this recording is a great starting point. Make sure that you continue your reveling odyssey and listen to Bach's other greatest works[...] If you have any questions about Bach and his performances, feel free to contact me (ekhekoyan at yahoo.com).

A Review in Dissent.......2006-06-06

I find myself in disagreement with all the other reviewers of this performance. I think Gould does both emotional and technical violence to Bach's music. One reviewer speaks of Gould's "staccato" attacks, and praises the interpretation anyway. Doesn't that seem incoherent? My problem with the performance, however, is not so much what I hear but what I don't hear. First, there's the chromaticism of Bach's music, which I don't hear in Gould's performance because it's hammer-heavy; dissonance is most piquant when prepared by clear, transparent consonance (which is nearly impossible, I grant, on a modern piano). Then there's the counterpoint, the joyful mathematical complexity of Bach's music, which Gould sacrifices to his thundering top-voice dramaticization.
I wrote a previous negative review of this disk, which I find has been eradicated. In other words, censorship is possible on Amazon. I'm quite disappointed.

"Don't be frightened, Mr. Gould is here ...".......2006-04-24

I dare to say that nobody could even better perform with the same clarity and precision as those of Glenn Gould. He demonstrates why J.S. Bach is still the maestro of all masters of all time.

I'm a researcher, and believe it or not, I get my ideas when I listen to Bach. This collection is a must-to-listen for everybody who needs an illuminated inspiration in his/her subject.

Listen and enjoy.

In The Spirit..........2005-08-23

Glenn Gould is one of the most controversial pianists ever ... some people love him ,some hate him ,but they all agree that he is a true bravura player and a serious virtuoso on the piano .
When it comes to bach we immediately recall the famous saying : Bach is the mathematician of music , and Gould's famous ( mechanical ) technique on the piano really sets us in the mood for bach ... i dont believe that J.S himself would have played those pieces better than Gould ...

I have always been fond of the piano concertos ,and i listened to them performed by multiple artists ,but Gould is the maestro undebatably .

I would also recommend Bach's partitas by Gould too ...

Enjoy

I'm prejudiced, and these are my favorite versions........2005-08-04

I started listening to Glenn Gould almost 50 years ago, and have always
admired the precision with which he played. It evokes very refined
emotions and clarity of thought, as I think Bach intended.

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