This set of Brandenburg concertos is based upon the original Cöthen edition, and not the more often recorded final version which Bach sent to the Margrave of Brandenburg in 1721.
The main difference between the two versions is that in the Cöthen edition, being an early draft, the third movement of #1 is omitted; the fourth movement thus becomes the third movement and is itself abridged. Likewise, the pyrotechnic, crowd-goes-wild harpsichord solo in the first movement of #5 appears here abbreviated and tamed.
When it came time for Johann Sebastian Bach to publish his Opus 1, what work do you think he picked? One of the sacred cantatas? One of the Brandenburg Concertos? One of the cello suites? No, none of the above. In 1726, Bach chose his B flat major Partita to start his publishing career – and once a year for the next five years, he published five more partitas, then collected them under the title Clavier-Übung in 1731. When it came time for Hungarian pianist András Schiff to make his major-label debut, what work do you think he picked? Yes, that's right. In 1985, Schiff released his recording of the complete partitas – and followed it with many more Bach recordings over the next few years until he'd released nearly the complete canonical works by 1996. And yes, Schiff's partitas are wonderful.
The Complete works of J.S. Bach on 160 CDs at a super bargain price. The CDs are packaged in paper sleeves in a glossy cardboard box, and the notes and text are included as PDF files on an additional CD Rom disc. Almost entirely original instrument performances, all 60 hours of the Sacred Cantatas are new recordings for this edition (a story in itself), the first complete set of digital recordings in fact.
In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.
For this hybrid SACD of famous organ works by J.S. Bach, Masaaki Suzuki plays the restored Schnitger-Hinz organ in the Martinikerk (Martin's Church), in Groningen, one of the most celebrated instruments in the Netherlands and one which dates back to Bach's time. Its bright, Baroque sonorities and Suzuki's historically informed interpretations give these performances a compelling sense of authenticity and period style. The pieces are among Bach's greatest hits, particularly the Toccata and Fugue in D minor, which gives the program a decisive opening. Following that flashy demonstration, Suzuki is relaxed and almost contemplative in the Pastorale in F major, and continues his thoughtful readings in the Partita on "O Gott, du frommer Gott," the Prelude and Fugue in G minor, and the Canonic Variations on "Vom Himmel hoch da komm' ich her." Yet he includes two sparkling virtuoso performances in the Fantasia in G major and the Prelude and Fugue in E minor, which keep the album from being too soft and subdued. BIS' super audio sound is crisp and detailed, which is no mean feat in a church recording.