Audio quality of this German Archiv recording is noticeably pleasant to the ear. Louder parts do not have the accompanying outbursts of digital junk noise typically present in many digital recordings; it's just pure sweet music. Archiv did this one right. Recommended for the high audio quality. Every piece is a masterpiece played with verve and energy.
This beautiful recording, once long out-of-print, is now remastered in high definition multi-channel hybrid SACD, and is the first album made by Jordi Savall for the Astrée label, now reissued on Alia Vox. With this rare 1975 disc, Savall confirmed François Couperin as a master composer for viola da gamba with affinities to the previous masters of French music. On the recording Mr. Savall plays an authentic 7-string bass viol, anonymously constructed in 17th century France. He is joined by musicians Ton Koopman playing a Gilbert des Ruisseaux harpsichord built in the late 17th century and Ariane Maurette playing a Barak Norman bass viol constructed in London in 1697. Couperin’s music for these colorful instruments is marvelous, contemplative and beguiling. The highly collectible album, a must-have of the Savall oeuvre, is now available again and features a very informative booklet.
By his twenties, Antonius "Ton" Koopman was already carving a musical niche for himself in which he would rise to become one of the world's most prominent performers in the early music movement. Koopman was born in the Dutch town of Zwolle in 1944. After what he describes as a "classical education," he went to Amsterdam to study organ (with Simon C. Jansen), harpsichord (with Gustav Leonhardt), and musicology. Koopman's musical interests from the outset centered upon the re-creation of older musics on their original instruments in a thoroughly researched historical performing style. He founded his first Baroque orchestra in 1966, followed by an exuberant career (40 years and counting) of mingled performance, conducting, and scholarship.
“First, Koopman’s harpsichord dances on its own; then string quartet, flute and bass viol join in the joyfully ingenious canons and fugues on the theme suggested by Frederick the Great of Prussia. The ornamentation is never fussy, while the recording is bright — bottled sunshine, that’s what this CD is.” The Times, 25th April 2009
...Ton Koopman is an exclusive artist of the Time-Warner organization for which he is recording the complete cycle of the sacred and secular Cantatas of J.S. Bach as well as the integral of the works for organ. The organ recordings have been completed in July 1999. The cantatas will be completed in 2004. In September 1997 Ton Koopman was rewarded the Deutsche Schallplattenpreis "Echo Klassik 1997" for the Bach Cantatas...Ton Koopman (Conductor, Harpsichord, Organ) - Short Biography
The Amsterdam Baroque Orchestra & Choir (= ABO&C), founded in 1979 by Ton Koopman, are a group of musicians from all over the world, with a particular passion for the Baroque. About seven times a year they get together to perform live and make CD-recordings under the inspired direction of Ton Koopman...The Bach Cantatas Website
Although Ton Koopman's fine Bach cantata series, begun in the mid-1990s, was abandoned by Warner Classics/Erato in 2001, the conductor managed to resume the 22-volume edition's issue through his own label, Antoine Marchand (a sub-label of Challenge Classics). And while distribution in the U.S. hasn't always been steady, that question seems to be resolved and we can expect to enjoy the remaining volumes as they appear over the next few years. This Volume 2 is by no means a "new release", but since Classicstoday.com last visited the series in June, 2003, with a review of Volume 1 (type Q6613 in Search Reviews), we thought we'd pick up where we left off. As collectors of these cantatas already know, Koopman initially released 12 of the 22 volumes with Erato, so if you already own any of these, you don't need to consider the Challenge Classics versions since they are identical...–David Vernier, ClassicsToday.com
In evaluating a Bach cantata recording, there are so many variables to consider--programming choices; quality and type of soloists; tempos and balances among soloists, orchestra, and chorus; quality of choir and orchestra; use of alternate arias (or voices for a particular aria); version of the score (where more than one exists); instrumentation (period or modern instruments; configuration of continuo); and of course, the quality of the recorded sound--that comparisons between different recordings often become more descriptions than critiques. No matter how "good" a performance is, if you don't like period instruments you won't like Herreweghe or Koopman; likewise, if a certain countertenor soloist bugs you, you'll be unlikely to enjoy a cantata in which that singer is prominently featured, no matter how wonderful the work's other movements sound. On the other hand, if you like Koopman - or Herreweghe, both of whom are the most interpretively consistent among period-instrument practitioners (Rilling fits that bill in the modern-instrument category; "periodists" Gardiner and Harnoncourt are notoriously unpredictable) - then you'll likely be pretty satisfied with most of their efforts in this repertoire...David Vernier, ClassicsToday.com