Bach is often credited with having invented the keyboard concerto, despite the fact that all of his works in the mode were arrangements of existing concertos for other instruments. Furthermore, whatever influence they may have had was indirect. It’s unlikely that either Haydn or Mozart had heard any of this music or even knew of its existence. But Haydn may have encountered the keyboard concertos of Carl Philippe Emanuel, and Mozart knew Johann Christian’s works in the genre. Nevertheless the elder Bach’s concertos, whether played on a harpsichord, or on a piano, retain a revered place in the keyboard literature. Many listeners will remember the veteran Baroque specialist, Bob van Asperen, from his collaboration with Gustav Leonhardt in the Teldec Bach cantata series. Here he plays the solo concertos with expected grace and fluidity, accompanied by Melante Amsterdam, which is basically an expanded period-instruments string quartet. The performances have a chamber-like intimacy, which is especially attractive, for example, in the famous Largo of the F-Minor concerto (BWV 1056). The recording, dating back to 1993, sounds brand new.(George Chien)
He was born in 's-Graveland, North Holland and studied organ and harpsichord from 1947 to 1950 with Eduard Müller at the Schola Cantorum Basiliensis in Basel. In 1950, he made his debut as a harpsichordist in Vienna, where he studied musicology. He was professor of harpsichord at the Academy of Music from 1952 to 1955 and at the Amsterdam Conservatory from 1954. He was also a church organist.wiki
The title of this release is thoroughly misleading. The album contains nothing like the ''Complete Flute Sonatas'' of C. P. E. Bach but only those for flute with obbligato harpsichord, of which there are but five. Eleven others for flute and continuo are omitted, along with Bach's single work for unaccompanied flute. Instead, the remaining five sonatas in the programme consist of two (BWV1020 and 1031) whose authorship has long been a matter of dispute; a trio for flute, violin and bass (H578) in which the violin part has been taken over by the right hand of the keyboard; another (H543) in which a similar adjustment has been made to Bach's two differently scored originals; and a duet for violin and harpsichord (H504) in which the violin part is taken by the flute. So, you can see that the title of the album is somewhat economical with the truth, though the accompanying essay by Barthold Kuijken clarifies the position.– Nicholas Anderson, Gramophone [5/1994]
J. S. Bach's second son, C.P.E. Bach, described the six Sonatas for Violin and Cembalo as "among the best compositions of my dear departed father", and went on to say how well they sounded and what pleasure they still gave him, although written some fifty years before. Over 300 years later these pieces still sound fresh and delightful.
A very finely-played recording which takes virtually 'all' repeats, one of the best performances of Goldberg Variations. The instrument played by van Asperen is a two-manualed harpsichord by Michael Mietke of Berlin (1719), who crafted a harpsichord for Bach while he lived in Coethen.
Bob van Asperen (born 8 October 1947 in Amsterdam) is a Dutch harpsichordist and early keyboard instrument performer, as well as a conductor. He graduated in 1971 from the Amsterdam Conservatory, where he studied the harpsichord with Gustav Leonhardt and the pipe organ with Albert de Klerk. Since then he has been performing extensively in Europe and the rest of the world, both as a soloist and as an accompanist/conductor.
In addition to his live performances, he has recorded repeatedly for several labels, including Sony, EMI, Teldec, Virgin, and Deutsche Harmonia Mundi, specialising in the keyboard repertoire of the 16th - 18th centuries, such as the harpsichord works of Froberger, J. S. Bach and Handel. One of the most important discography projects he has undertaken is the complete keyboard works of C.P.E. Bach and also the complete sonatas of Catalan composer Antonio Soler (Astrée, 1992). Various other projects are under way, while many of his recordings have been awarded with prestigious prizes, such as the Preis der Deutschen Schallplattenkritik and the Diapason d'Or.
This reissue offers music lovers a golden opportunity to hear one of the truly great sets of Brandenburg Concertos. Listeners familiar with the fast, super-bright sound of certain famous British and German authentic instrument groups such as The English Concert or Musica Antiqua Kцln, will find much to savor in these warmly dark-toned versions. Gamba player turned conductor Jordi Savall treats each work with positively epicurean relish.
No composer looms over modern jazz quite like Johann Sebastian Bach, whose harmonic rigour seems to have provided the basis for bebop and all that followed. Listen to the endlessly mutating semiquavers tumbling from Charlie Parker’s saxophone and it could be the top line of a Bach fantasia; the jolting cycle of chords in John Coltrane’s Giant Steps could come straight from a Bach fugue and Bach’s contrapuntal techniques crop up in countless jazz pianists, from Bill Evans to Nina Simone. Bach certainly casts a long shadow over US pianist Brad Mehldau: even when he’s gently mutilating pieces by Radiohead, Nick Drake or the Beatles, he sounds like Glenn Gould ripping into the Goldberg Variations. Which is why it comes as no surprise to see Mehldau recording an entire album inspired by Bach. However, this is not a jazz album. Instead of riffing on Bach themes, as the likes of Jacques Loussier or the Modern Jazz Quartet have done in the past, After Bach sees Mehldau using Bach’s methodology. Mehldau plays five of Bach’s canonic 48 Preludes and Fugues, each followed by his own modern 21st-century response.