Bach Sonates Bwv 1027 1029, Chorals

Bach: Sonates BWV 1027-1029, Chorals & Trios / Cocset  Music

Posted by knmn at March 29, 2009
Bach: Sonates BWV 1027-1029, Chorals & Trios / Cocset

J.S. Bach: Sonates BWV 1027-1029, Chorals & Trios / Cocset
Baroque | 2009 | 1 CD | 325 Mb | EAC/APE/CUE/LOG/SCANS
Mischa Maisky & Martha Argerich - J.S. Bach: Three Sonatas for Violoncello and Piano, BWV 1027-1029 (1985)

Mischa Maisky & Martha Argerich - J.S. Bach: Three Sonatas for Violoncello and Piano, BWV 1027-1029 (1985)
EAC | FLAC | Tracks (Cue&Log) ~ 192 Mb (incl 5%) | Mp3 (CBR320) ~ 117 Mb (incl 5%) | Scans included
Genre: Classical | Label: Deutsche Grammophon | # 415 471-2 | Time: 00:43:26

These three sonatas - composed originally for the viola da gamba and harpsichord - are very musically-appealing compositions. And unlike previous Baroque cahmber-music tradition, the harpsichord is not relegated to mere continuo but projected into the spotlight as co-soloist - perhaps to showcase some of Bach's keyboard virtuosity. There are several fine period recordings of these works on viola da gamba and harpsichord (Savall, Peri, Crum, Wispelwey) or modern cello with harpsichord (Ma, Tortelier). But if your taste favors all modern instuments (cello, piano), then this circa-80's CD by the legendary Martha Argerich and Misha Maisky is the ticket.
J.S. Bach – Sonatas for Viola and Piano BWV 1027-1029/Chorale preludes [2011] (PS3 SACD rip)

J.S. Bach – Sonatas for Viola and Piano BWV 1027-1029/Chorale preludes [2011] (PS3 SACD rip)
SACD ISO Image = 2.86 GB | Stereo FLAC = 875 MB | MCH FLAC = 2.42 GB | Scans PDF (800 dpi): 15 MB | 5% Recovery
Classical | Label: MDG | Catalog Number: MDG 903 1660-6 | DST 1bit-2822,4kHz 2.0, 5.1

Though the cello and especially the violin were the beneficiaries of numerous solo works by the pen of J.S. Bach, the instrument we know today simply as the viola (but in Bach’s time would have been the viola da braccio) was not fortunate enough to receive original, solo compositions. Instead, violists were bestowed with the lead role in the great Sixth Brandenburg Concerto. This MDG album headlines the Bach sonatas for viola and piano, this is a bit misleading.
Marc Hantai & Pierre Hantai - J.S. Bach: Sonates pour flûte et clavecin (2018)

Marc Hantai & Pierre Hantai - J.S. Bach: Sonates pour flûte et clavecin (2018)
Classical | WEB FLAC (tracks) & d. booklet | 401 MB
Label: Mirare | Tracks: 18 | Time: 74:33 min

The German flute returned to the Germans Compared to the violin – with its six Sonatas and Partitas for solo violin and its six Sonatas for violin and obbligato harpsichord – the flute may seem a poor relation: the four sonatas for flute and obbligato harpsichord and the “solo” for flute without bass recorded here are the only chamber works Bach composed for the flute as a solo instrument (and even then, some of them may not have been originally written for the flute), to which may be added two trio sonatas: BWV 1039, for two flutes and basso continuo (another version of the Viola da gamba Sonata BWV 1027), and the trio sonata of the Musical Offering, BWV 1079/3.
Marc Hantai & Pierre Hantai - J.S. Bach: Sonates pour flûte et clavecin (2018) [Official Digital Download 24/88]

Marc Hantai & Pierre Hantai - J.S. Bach: Sonates pour flûte et clavecin (2018)
FLAC (tracks) 24-bit/88.2 kHz | Time - 74:33 minutes | 1.25 GB
Studio Master, Official Digital Download | Artwork: Digital Booklet

The German flute returned to the Germans Compared to the violin – with its six Sonatas and Partitas for solo violin and its six Sonatas for violin and obbligato harpsichord – the flute may seem a poor relation: the four sonatas for flute and obbligato harpsichord and the “solo” for flute without bass recorded here are the only chamber works Bach composed for the flute as a solo instrument (and even then, some of them may not have been originally written for the flute), to which may be added two trio sonatas: BWV 1039, for two flutes and basso continuo (another version of the Viola da gamba Sonata BWV 1027), and the trio sonata of the Musical Offering, BWV 1079/3. But compared to the oboe or the recorder, for which nothing remains (though these instruments were well provided for by his contemporaries, particularly Telemann), the transverse flute is a spoiled child.
Geraint Jones, Wolfgang Gönnenwein - Bach: Cantates BWV 80, 140 & 147 (1995) [Remaster 2005] 2CD

Geraint Jones, Wolfgang Gönnenwein - Bach: Cantates BWV 80, 140 & 147 (1995) [Remaster 2005] 2CD
Mp3 CBR320 kbps | 119:06 min | 282 Mb (5% Rec.)
Classical, Vocal | Label: Warner Classics

These performances show their age in their thick choral tone and sluggish tempos. But the strong line-up of soloists still register positively. —BBC Music Magazine, March 2006.
Philippe Herreweghe, La Chapelle Royale - Bach: Trauerode BWV 198 & Cantate BWV 78 (1988)

Philippe Herreweghe, La Chapelle Royale - Bach: Trauerode BWV 198 & Cantate BWV 78 (1988)
EAC | FLAC | Image (Cue & Log) ~ 242 Mb | Total time: 57:47 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901270 | Recorded: 1987

Recorded in 1987, this disc by Belgian conductor Philippe Herreweghe and the choral-instrumental ensemble La Chapelle Royale came in advance of most of the historical-performance recordings that have delved deeply into Bach's cantatas and their world. It was, in fact, the first digital recording of the Trauerode, BWV 198. Despite some competition, this remains an exemplary Bach performance, and it was a superb candidate for reissue in Harmonia Mundi's HM Gold greatest-hits series.
Nederlands Kamerkoor, Peter Dijkstra - J.S. Bach: Motets BWV 225-230 (2008) (Repost)

Nederlands Kamerkoor, Peter Dijkstra - J.S. Bach: Motets BWV 225-230 (2008)
EAC | FLAC (image+.cue, log) | Covers Included | 67:04 | 290 MB
Genre: Classical, Sacred | Label: Channel Classics | Catalog: CCS SA 27108

That Bach's motets are not his most popular sacred choral works is easily explainable. When asked to choose between the Passions' spiritual drama, the Mass' magnificent architecture, the cantatas' infinite diversity, or the motets' inward piety, most listeners will more likely choose any of the former before the latter. Still, for concentrated intensity, it is hard to surpass the motets, particularly in performances as superlative as these by the Nederlands Kamerkoor under Peter Dijkstra.
Philippe Pierlot, Ricercar Consort - Bach: Magnificat BWV 243, Missa BWV 235 (2009)

Philippe Pierlot, Ricercar Consort - Bach: Magnificat BWV 243, Missa BWV 235 (2009)
EAC | FLAC | Image (Cue & Log) ~ 350 Mb | Total time: 64:52 | Scans included
Classical | Label: Mirare | # MIR 129 | Recorded: 2008

Philippe Pierlot and the Ricercar Consort's 2006 recording of Bach's Magnificat brings back the glory days of historically informed performances, those halcyon days in the 1980s when musicians, empowered by scholarship and energized by virtuosity, were recording the Baroque repertoire with the zeal of the newly converted. Though Pierlot and his musicians are of a younger generation, they bring a missionary fervor to the music, a program of Bach's Magnificat, BWV 243, and Missa Brevis, BWV 235, interspersed with two well-chosen organ works, the Fuga sopra il Magnificat, BWV 733, and the Präludium und Fuga, BWV 541. Pierlot's textures are clean, his rhythms buoyant, his colors bright, and tempos brisk, but not rushed in the fast movements, and contemplative but not moribund in the slow movements.
Nicholas Ward, Northern Chamber Orchestra - Bach: Magnificat BWV 243; Cantata 'Ich habe genug' BWV 82 (1995)

Nicholas Ward, Northern Chamber Orchestra, Jeremy Summerly, Schola Cantorum of Oxford - Bach: Magnificat BWV 243; Cantata 'Ich habe genug' BWV 82 (1995)
EAC | FLAC | Image (Cue & Log) ~ 215 Mb | Total time: 53:14 | Scans included
Classical | Label: Naxos | # 8.550763 | Recorded: 1993, 1994

These works both received their first performances in Leipzig - the Magnificat in 1723 and Cantata 82 in 1727. It was in 1723 that Bach had taken up thepost of Kantor at the Thomaskirche in Leipzig, having previously been Kapellmeisterto Prince Leopold in Cothen. The Magnificat was originally heard ina version in E flat major at Christmas Vespers when movements with seasonaltexts were inserted; the version included on this disc was rendered by Bach someyears later, returning to the ordinary Magnificat text in order to makethe work performable all year round. Bach's approach to the evening canticle ischaracteristically large-scale. There is no use of recitative, owing perhaps tothe poetic nature of the text: the verses have little natural hierarchy and itis appropriate that they should all be afforded extended settings. The scoringis unusually rich and includes three trumpets, two flutes, two oboes, strings,continuo, and timpani - one of the largest ensembles to be assembled at theThomaskirche in Bach's time. Bach takes a literal view of the text in which, forinstance, the full five-part choir is used to demonstrate Omnes generationes ("All generations") with soloists used for the more reflective movements. Ina typically Bachian gesture the opening material returns for Sicut erat inprincipio ("As it was in the beginning").