Pianist Lars Vogt presents one of the classic works of the Baroque repertoire – Johann Sebastian Bach’s (1685–1750) famous Goldberg Variations. Originally written for the harpsichord the Goldberg Variations, published in 1741, embody an Aria with 30 variations and a coda. Bach wrote the work for Johann Gottlieb Goldberg, who, as the narrative says, often played music as a cure for Count Kaiserling’s insomnia. Apparently the work was one of the successes that Bach had during his lifetime and it was also published during his lifetime.
A portrait, on the tercentenary of the composer's birth, of Carl Philipp Emanuel Bach (1714-1788), probably the most gifted of the sons of Johann Sebastian Bach. Highly admired in his own century by Haydn, Gluck and Mozart, he stands out today as a brilliant and highly original composer. For CPE Bach, music had to be an expression of personal feelings and to achieve his aim, he revolutionised the established principles of form, harmony and rhythm. The Trio Sonata 'Sanguineus und Melancholicus' is a rarity in the composer's output in that it is a quasi-programmatic work. It presents a conversation between one sanguine (first violin) and the other melancholic (second violin). The same duality is found throughout the recordings presented here, from the well-known Sinfonia No. 5 to the two brilliant cello concertos. Under the bow of cellist Ophélie Gaillard, at the head of the Pulcinella Orchestra, these pieces come as a revelation!
French accordionist and bandoneon player Richard Galliano has spent much of his career demonstrating that his instruments can be employed not only in the service of folk music, but also to play jazz. His long tenure on Dreyfus Records was spent in that endeavor, but with Deutsche Grammophon, the venerable classical label, he naturally takes a different tack, here adapting himself to the demands of Johann Sebastian Bach. (…) as Galliano re-creates the majesty of Bach's music on his accordion, proving its worth as a formal instrument, just as he has previously as a jazz axe.
This is the second of a series of themed cantata recordings by Marcel Ponseele and his crack ensemble, Il Gardellino. The first, titled Desire , was reviewed in Fanfare 34:5. The current disc, titled De Profundis , includes one of Bach’s earliest cantatas, BWV 131, and one of his latest, BWV 177, as well as a cantata by one of Bach’s prominent contemporaries, Christoph Graupner (1683–1760). The latter is of particular interest because Graupner was the Leipzig Town Council’s second choice (after Telemann) to replace its retiring cantor, Johann Kuhnau, in 1723. But Graupner was unable to obtain a release from his current employer, giving the appointment to the third choice, Johann Sebastian Bach, and changing the course of music history. In fact, the much-maligned council’s logic was sound. Telemann, a former resident, was the most celebrated (and industrious) composer in Germany, and Graupner had been Kuhnau’s apprentice.
Jarrett plays brilliantly.
Personally, I love Jarrett's playing; he is one of the most sensitive and lyrical of contemporary pianists, and his long illness has deprived us of what would surely have been a larger body of baroque music recordings. So make your own mind up.
I highly recommend this collection to lovers of Bach, Jarrett and the diabolical harpsichord.
In early 1956, the international world of music suddenly became aware of a formidable newcomer. Glenn Gould, a 24-year-old Canadian pianist, seemed to come from nowhere to establish an astonishing presence, particularly associated with the music of Johann Sebastian Bach. The occasion was the release by Columbia Records of the complete Goldberg Variations, recorded by Gould in June 1955 at Columbia’s downtown Manhattan studio. Gould’s take on the relatively under-performed work was revolutionary. And his technical execution was breathtaking. His career as a performer was assured right from the outset.CBC Shop