The star of the young Hungarian violinist Kristóf Baráti is quickly rising. Having won several important international competitions (the most recent first prize at the prestigious Paganini Competition in Moscow) he plays with important orchestras and conductors, like Charles Dutoit, Kurt Masur, Iván Fischer, Yuri Temirkanov and Marek Janowski. His recent recording of Beethoven’s complete violin sonatas with Klára Würtz received rave reviews: “5 stars…a great duo, comparable with Perlman/Ashkenazy, Grumiaux/Haskil, Ferras/Barbizet’ (Diapason), “A talent that comes along once in a decade, perhaps once in a generation, I don’t say it lightly, but once you’ve heard Baráti and Würtz you’ll never listen to anyone else again” (Fanfare). This recording of the great solo Bach was issued on Berlin Classics in 2009, and shows the sovereign command over the matter, and a deep understanding of the spirit of these masterworks.
"The present recording was made in 1984 and 198S, using a Dutch baroque violin and a baroque bow. The location was the village church of Oltingen in the canton of Basel in Switzerland, a space that seemed particularly favourable to the sound and atmosphere of Bach's music."
This is a glorious disc. Simply glorious. Anderszewski and Bach have long been congenial bedfellows and the Pole’s playing here is compelling on many different levels. To start with, there’s the sense of sharing the sheer physical thrill of Bach’s keyboard-writing. This is particularly evident in faster movements such as the fierce and brilliant fugal Gigue that concludes the Third Suite, or, in the E minor Fifth Suite, the extended fugal Prelude and the outer sections of its Passepied I. Common to all is a sense of being fleet but never breathless, with time enough for textures to tell.
GRAMOPHONE AWARD WINNER 2015 - BAROQUE INSTRUMENTAL RECORDING OF THE YEAR. This recording is the first time that the five-stringed Amati has been used to record the 6th suite and it is the only original five-string cello in existence in the UK and unique in being the only one by this maker. The Cello Suites are performed on two gut-string cellos Suite Nos. 1-5 on a Francesco Ruggieri from 1660 and Suite No. 6 the five-stringed Cremona cello by A. & H. Amati from c.1600, both tuned to Baroque pitch. Bachs cello suites are renowned as the pinnacle of the instruments repertoire and are performed here in period performances by the internationally acclaimed cellist, David Watkin. David Watkin has been performing Bachs Cello Suites in concert for 35 years, and Bachs unaccompanied cello repertoire has taken him all over Europe, from the Palace of Frederick the Great at Potsdam to the Prague Spring Festival, and, as part of Sir John Eliot Gardiner's Bach Cantata Pilgrimage, included performances sitting by the font in which Bach was baptised.
Markku Luolajan-Mikkola has a reputation for excellence and already has two Gramophone Awards. With a fan base to match, Luolajan-Mikkola is at the top of his game. In Luolajan-Mikkola’s Linn debut, he tackles the pinnacle of Bach’s productions for violinists: the Partitas and Sonatas. Luolajan-Mikkola transcribed these works for cello. His goal with this recording has been to encapsulate expression and emotion according to the character of each movement. A historically informed musician, he performs on baroque cello.
While Ivo Pogorelich established his reputation performing mainly Romantic repertoire, his few forays into the Baroque reveal him to be an equally engaging- if not eccentric musician here as well. In quicker movements, such as the opening Preludes of the English Suites for instance Pogorelich's rhythmic control and contrapuntal clarity are simply amazing. Slower movements likewise are handled with remarkable intensity and delicacy. Pogorelich's performances of four Scarlatti sonatas concluding the program as well are wonderfully animated and knowing.
The music of Bach's 'St. John Passion', which the composer wrote for Holy Week in 1724 immediately after his appointment as cantor of St Thomas's Church in Leipzig, still retains all its freshness and vitality nearly 300 years later, and is a true Baroque delight. The two main choruses Herr, unser Herrscher and Ruht wohl, ihr heiligen Gebeine form the beginning and culmination of a large-scale orchestral and vocal structure in which Bach reveals his absolute mastery of polyphony. Inwardly reflective chorales are as much interwoven into the events of the Passion as the haunting arias which comment on the biblical texts of the Gospel of St John. Throughout this solemn Passion oratorio, there is a constant emphasis on Baroque musical magnificence. What makes this live recording of the concert version of March 7, 2015 in the Herkulessaal of the Munich Residenz so special? The fresh voices of the young and excellent vocal soloists, the regularly praised "astonishing three-dimensionality" and "crystalline clarity" of the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra and, of course, the renowned period instrument ensemble Concerto Köln.
The Amsterdam Bach Soloists comprise an ensemble of ten or so musicians. They play modern instruments but base their musical approach on ''an undogmatic use of authentic interpreting practice, so that the rich potentialities of the modern instruments can be combined with the baroque way of performing, which is in keeping with the accomplishments of Nikolaus Harnoncourt with the Concertgebouw Orchestra''. Most of the players are, in fact, drawn from the Concertgebouw, though there are some from Frans Bruggen's Orchestra of the Eighteenth Century. Nowadays Bach's didactic but very beautiful The Art of Fugue, is widely regarded as a work for solo harpsichord. Bach himself left no precise indication concerning instrumentation but the music was engraved in open score which places each individual voice or strand of the texture on a separate stave. This practice was not uncommon in contrapuntal keyboard works and is one of several features pointing towards the solo harpsichord as being Bach's most likely intention. Nevertheless, since 1924, when the Swiss musician Wolfgang Graeser set the canons and fugues for various combinations of instruments, the practice of performing The Art of Fugue with a mixed ensemble has remained popular.