A new recording from violinist Rachel Podger is always worth attention. And before you even get to appreciating the first-class performances - faithful realizations of Bach’s Art of Fugue skillfully arranged for strings - you notice the immediate, vibrant presence of the instruments. The sound is stunning, reminiscent of the early days of digital recording, when listeners used to marvel at how realistic the sound was. Channel Classics has been doing this forever; we just may have forgotten how special it is when it’s done right.
C.P.E. Bach would undoubtedly rejoice, were he alive, upon hearing this album of his cello concertos by Truls Mørk and Les Violons du Roy under the direction of Bernard Labadie. From the opening notes, one cannot help but feel the orchestra is fantastic. The A major Cello Concerto begins with vigor and liveliness, with the ensemble playing perfectly together in tempo with great spirit. Mørk plays just as well, with a clean, accurate, and somewhat light touch.
Rarely do we feel the presence of Bach so vividly on a recording as we do here with this set of Trio Sonata arrangements, performed by violins, viola da gamba, and harpsichord. What a perfect combination, thanks to Richard Boothby's settings and to the wonderfully synergistic interaction among these very experienced early music players–violinists Catherine Mackintosh (in her best recorded performance in a while) and Catherine Weiss, gambist Boothby, and harpsichordist Robert Woolley.
Brilliant composer and organist Johann Sebastian Bach completes the long journey from his home in Leipzig to Potsdam.
Rarely do we feel the presence of Bach so vividly on a recording as we do here with this set of Trio Sonata arrangements, performed by violins, viola da gamba, and harpsichord. What a perfect combination, thanks to Richard Boothby's settings and to the wonderfully synergistic interaction among these very experienced early music players--violinists Catherine Mackintosh (in her best recorded performance in a while) and Catherine Weiss, gambist Boothby, and harpsichordist Robert Woolley. There's certainly nothing wrong with arranging Bach's music like this--and indeed, Boothby does "mix things up" by transposing keys and instrumental lines--as Bach himself reused, rearranged, and transposed his own and others' music. In these string versions of pieces normally performed on the organ we hear occasional enticing hints of the violin concertos and, because of the instruments' different registers and colors, the lines emerge in new and surprising ways. This disc makes a nice companion to Bernard Labadie's arrangement of the Goldberg Variations for strings and continuo, recorded with Les Violons du Roy on Dorian (see reviews and features): both are distinguished for their learned, totally faithful, yet refreshingly entertaining and enlightening recastings of music that's not only timeless but seemingly limitless in its revelatory capacity. The sound is demonstration quality--this is one of those recordings that when you turn it up to just the right level, the instruments come to stunningly real, three-dimensional life, no fancy surround-sound or other high end equipment needed.ClassicsToday - David Vernier
Longtemps méconnues du grand public des mélomanes, les cantates de Bach connaissent de nos jours l’engouement que justifie cet incomparable trésor. Les enregistrements en intégrales se multiplient, de même que les auditions en cycles de concerts au long cours. Le contenu spirituel des cantates d’église, une langue allemande complexe ainsi que les multiples connotations de livrets volontiers vilipendés en ont freiné l’accès à des auditeurs comblés par les Passions et les oratorios. Quant aux cantates profanes, elles demeurent encore à l’écart des programmes. …