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.”
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
Bach’s keyboard works known as the English Suites offer a series of dance movements which, despite their name, owe more to earlier French and German models. This is the first of two recordings of the complete English Suites arranged for two guitars by the distinguished Montenegrin Guitar Duo. Transcriptions of Bach for solo guitar have been popular since the nineteenth century and the emergence of the guitar duo extends still further the potential for exciting and revelatory performances.
The Brandenburg Concertos need no introduction – doubtless because they owe their fame to a systematic exploration of a genre recently inherited from the Italians, with a still youthful Bach devising as many different scorings as there are concertos. When he received the manuscript of the six works, Christian Ludwig, Margrave of Brandenburg, must have been terrified by their demands, and his musicians even more so! Three centuries later, the cycle is as open as ever to new ‘historically informed’ interpretations, as this set demonstrates. The CD cover represents the importance of numbers in these works eg Concerto No 3 which is scored for three instruments, in 3 time, 3 sections etc. The trumpeter is particularly impressive. Freiburg are recording and touring Bach throughout 2014.
The Gemini Series features an impressive roster of singers, conductors, soloists, and ensembles of international renown, all from the incomparable EMI Classics stable. EMI's rich legacy of recording expertise comes to the fore in performances from the 1960s to the 1990s. Gemini titles are predominantly collections of single composers and fantastic value with well over an hour of music on each CD, making them the ideal place to start or develop a collection of classical music. Each 2-CD set contains over two hours of music for a fantastically low price. Attractively designed and packaged in space-saving brilliant boxes, each set includes three-language booklets with detailed notes on the music.