The Moscow Chamber Orchestra was created in 1956 by renowned conductor and violist Rudolf Barshai, and has long been considered a Russian national treasure.
Dmitry Shostakovich, who entrusted the first performance of his Fourteenth Symphony to the Orchestra, said: “This must be the greatest chamber orchestra in the world.”
Claudio Abbado isn't a name one associates with early music, in light of his impressive career conducting the masterworks of the Romantic and modern eras. Indeed, he didn't conduct any music by J.S. Bach with the Berlin Philharmonic until as late as 1994. Yet when he's leading the talented Orchestra Mozart of Bologna in Bach's Brandenburg Concertos, his ease with the music and his players is obvious, and the performances have almost as much Baroque style as many versions by period ensembles of greater longevity. Abbado led this ensemble in all six Brandenburgs in 2007 at the Teatro Municipale Romolo Valli in Reggio Emilio, and the live performances were recorded by Deutsche Grammophon with close attention to details, as befits chamber music.
In November 2004 a new name caused listeners to prick up their ears on the international orchestral scene: under Claudio Abbado’s artistic guidance the Orchestra Mozart came into being. It combines both young instrumentalists on the threshold of a first-rate career as well as eminent chamber musicians such as Danusha Waskiewicz, Alois Posch, Jacques Zoon, Michaela Petri, Ottavio Dantone, Mario Brunello, Alessio Allegrini, Jonathan Williams and Reinhold Friedrich. As with his famous Lucerne Festival Orchestra, Abbado hand-picked an ensemble to his liking, this time one of early- and Baroque-music specialists, all masters in their field.
Dedicated to the Margrave of Brandenburg, J. S. Bach's Brandenburg Concertos are timeless works of art - their variety of styles and instrumental combinations reveal inspiration of the highest order. Karl Richter's Brandenburg Concertos are perfectly paced, clear textured and undeniably stylish. There's a level of sophistication in this performance which few recordings are able to equal. The Munchener Bach-Orchester has a sound that is in the German tradition and thoroughly idiomatic.
Most of Sara Sant'Ambrogio's recordings have been as cellist with the Eroica Trio, but she takes on the odd numbers of J.S. Bach's Six Suites for unaccompanied cello in this 2009 solo outing, and it's an ambitious undertaking. This album faces comparisons with several great recordings of the suites, and this young cellist likewise faces scrutiny for playing works associated with such names as Casals, Fournier, and Rostropovich, past masters of the instrument.
Every Richter fan will want to hear his performances of four of Bach's English Suites (6) taped in the Tchaikovsky Concert Hall in Moscow on May 20, 1991. Recorded near the end of his career, they are Richter at his most deeply affecting and deeply human. Richter was 76 when he gave these performances, but they reveal no lack of power, no technical weakness, and certainly no want of intensity. But at this point in his life and always in this repertoire, Richter has restrained his virtuosity to concentrate on Bach's linear counterpoint played with such complete independence of the fingers that every line is clear, cogent, and compelling. But more than anything, Richter's lines are voices, all singing their own lines in effortless and ineluctable ensemble with each other and thereby creating a whole infinitely greater than the sum of its parts. In these late performances, Richter is at his most lyrical, with each voice given its own supple phrasing and its own sweet tone. While being quintessentially pianistic, Richter's performance of Bach's music is essentially the sound of Richter singing. Great Hall's sound is raw and honest. ~ James Leonard, Rovi Performances