Bach Sonates Bwv 1027 1029, Chorals

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.
David Oistrakh and Hans Pischner - Bach Sonatas BWV 1014-1019 (2016)

David Oistrakh and Hans Pischner - Bach Sonatas BWV 1014-1019 (2016)
Classical, Violin, Chamber Music | MP3 CBR 320 kbps | 01:49:00 | 251 MB
Label: Deutsche Grammophon (DG) | Release Year: 2016

David Oistrakh is considered the premiere violinist of mid-20th century Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartók. Oistrakh's violin studies began in 1913 with famed teacher Pyotr Stolyarsky.
Bach - Kantaten BWV 9, 94 & 187 (Sigiswald Kuijken, La Petite Bande) [2012 / 1999]

Bach - Kantaten BWV 9, 94 & 187 (Sigiswald Kuijken, La Petite Bande) [2012 / 1999]
Classical | EAC Rip | FLAC, IMG+CUE, LOG | Covers
Label: DHM | Catalog Number: 88691 95308 2 | 1cd, 302.35 MB

Kuijken was born in Dilbeek, near Brussels. He was a member of the Alarius Ensemble of Brussels between 1964 and 1972 and formed La Petite Bande in 1972. Since 1971 he has taught Baroque violin at the Royal Conservatory of The Hague and the Koninklijk Muziekconservatorium in Brussels. He is noted for using the older technique of resting the violin on the shoulder without a shoulder rest, rather than held under the chin. He is a member of the Kuijken String Quartet, which he formed in 1986. In recent years, he has also performed as conductor of symphonies of the Romantic era…
wiki
Nathan Milstein - J.S. Bach: Sonatas & Partitas for Solo Violin, BWV 1001-1006 (2012) 2CD

Nathan Milstein - J.S. Bach: Sonatas & Partitas for Solo Violin, BWV 1001-1006 (2012) 2CD
EAC | FLAC | Image (Cue&Log) ~ 322 Mb (incl 5%) | Mp3 (CBR320) ~ 275 Mb (incl 5%) | Scans ~ 94 Mb
Genre: Classical | Label: EMI | # 50999 6 78741 2 5 | Time: 01:54:06

The late Nathan Milstein’s 1975 stereo remake (DG mid-price) was his own preferred version of these pillars of the violin repertoire with which he had been so associated since his youth in Odessa. But his (broadly faster) mid-Fifties New York account, now remastered and restored by EMI, was a famous yardstick of its time – a grandly phrased, aristocratically structured, Romantically resonant statement to treasure beside Menuhin and Heifetz. These are epic virtuoso performances justifying Milstein’s view that with this music the performer could ‘bask in the most glamorous light’. Stylistically, purists will object to their expressive liberty and gesture. But few will be able to resist their artistry or intensity of delivery.
Julian Bream - J.S. Bach: Prelude, Fugue and Allegro BWV 998; Suite BWV 996; Chaconne from Parita No.2; Partita No.3 (1994)

Julian Bream - J.S. Bach: Prelude, Fugue and Allegro BWV 998; Suite BWV 996; Chaconne from Parita No.2; Partita No.3 (1994)
EAC | FLAC | Image (Cue&Log) ~ 317 Mb (incl 5%) | Mp3 (CBR320) ~ 193 Mb (incl 5%) | Scans included
Genre: Classic, Guitar | Label: EMI Classics | # 7243 5 55123 2 1 | Time: 01:09:56

Julian Bream is, without a doubt, one of the premiere classical guitarists of the modern recording era. Comparisons between great guitarists is often unfair and misleading as they each have their own styles - and each musician and his/her style tends to be particularly well suited to certain types of music. For example, Andres Segovia's style, cultivated by self-teaching throughout his now ended life, concentrated on flowing legatto smoothness and flowing melodies. Bream's, on the other hand, while equally masterful, is better characterized as emphasizing the precision and crispness of each and every individual note. What better composer to focus on to show this particular proclivity that J. S. Bach, whose work, having been written largely for the keyboards (harpsichord) but also for the lute and triple harp, tends to emphasize the kinds of music Bream excels at. Stacatto phrasings, each written to be played with crystalline exactness, are the types of pieces wherein Bream's magnificence is conspicuous and best showcased. Thus, the special relevance of this particular compilation of some of his best Bach work on this CD.
Ketil Haugsand - Johann Sebastian Bach: Goldberg Variations, BWV 988 (2002) [Upgrade]

Ketil Haugsand - Johann Sebastian Bach: Goldberg Variations, BWV 988 (2002)
EAC | FLAC | Image (Cue&Log) ~ 497 Mb (incl 5%) | Mp3 (CBR320) ~ 170 Mb (incl 5%) | Scans ~ 91 Mb
Genre: Classical | Label: Simax | # PSC 1192 | Time: 01:10:52

The title alone is enough to make the heart beat a little faster. It is not coincidental that many music lovers have just this work as a centre in their private musical universe, a piece they return to again and again, always to find something new. A set of variations which stretches the limits; old man Bach with the powers to make the variation-form a display of pure music. This release concludes Ketil Haugsand"s recordings of all Bach"s "Clavierübung" on harpsichord for Simax Classics. The two earlier releases became reference recordings over-night, and Goldberg really is the jewel of the crown. As always Haugsand"s interpretation is no scratching the surface, but taking you through to the deeper layers of this music in breathing and singing phrases, along the map drawn up by Bach.
Till Fellner - J.S. Bach: Das Wohltemperierte Klavier, Buch 1 (2004) 2CD

Till Fellner - J.S. Bach: The Well-Tempered Clavier, Book I (2004) 2CD
EAC | FLAC | Tracks (Cue&Log) ~ 344 Mb (incl 5%) | Mp3 (CBR320) ~ 321 Mb (incl 5%) | Scans included
Genre: Classical | Label: ECM | # ECM New Series 1853/54, 476 0482 | Time: 01:54:54

Youthful Viennese pianist Till Fellner has performed J.S. Bach's Well-Tempered Clavier to critical acclaim across Europe, and has made it the backbone of his recital repertoire. For this recording of Book I, Fellner performs the 24 preludes and fugues with a rich and full sound, yet with the refinement and fastidious control required in these comprehensive studies of Baroque keyboard technique. Articulation and balanced phrasing are of paramount importance, and Fellner's energies are directed to the clean execution of lines and the careful shading of contrapuntal voicings. What emotion he communicates is subtle and somewhat constrained to the contrasting characters of each pairing – the preludes and fugues often play off each other – yet his interpretations are quite colorful and varied over the course of the set. Neither cerebral nor effusive, Fellner renders the music in an appealing middle area between schools of interpretation, and achieves imaginative results that should please both traditionalists and fans of period practice.
Bach - Motets BWV 225-231, Cantatas BWV 50 & 118 (John Eliot Gardiner)

Bach - Motets BWV 225-231, Cantatas BWV 50 & 118 (John Eliot Gardiner) [1982]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 2cd, 431 MB
Classical | Erato | 2292-45979-2 | CD1:55'57; CD2:45'31

Although conductors invariably include the six great motets of Bach (BWV225-230) in recordings of these works, they seldom if ever seem to agree which if any other of Bach's motets to perform with them. John Eliot Gardiner very sensibly goes for the lot, adding Sei Lob und Preis mit Ehren (BWV231) and the little-known Der Gerechte kommt um which does not even have the benefit of a Schmieder number. As well as these, Gardiner also includes two short pieces which belong, at least nominally, to the cantata category, BWV50 and BWV118. In the case of the latter there is much justification for doing so for it's a single movement choral piece in motet style written for a funeral in about 1736 and revised for a performance around 1740. Here we have what sounds to me like a compromise; in other words the horns, cornetto and sackbuts of the first version (possibly intended for an open air occasion), with the strings and woodwind of the second. This may be explained in the texts, none of which has been included with my review copy…