Gustav Leonhardt began recording Bach's secular cantatas on Philips in 1990 after completing the sacred cantatas cycle with Harnoncourt. Those Philips discs were well received but are now hard to find, either on CD or as downloads, so I was thrilled to discover that Leonhardt, now 80, just recorded another pair of Bach's secular cantatas.
This 12CD collection brings together Emma Kirkby’s complete L'Oiseau-Lyre recitals in a single set. The world’s most popular period-instrument soprano, Kirkby’s pure, crystalline sound defined how vocal music of the baroque and earlier eras should sound for a whole generation or more. Accompanied in the main by Anthony Rooley, the set features works by Purcell, Handel, Bach and Mozart as well as rarely recorded works by Edwards, Campion, Dowland, Morley, Ferrabosco and many more.
No doubt many of you are wondering whether I should be recording Bach’s complete sonatas and partitas at the age of only 21. Perhaps I should have waited a bit longer? Well, patience has seldom been my strong point, and after all I have already waited a number of years for an opportunity to record these works. During the first six years of study with my teacher Ana Chumachenco, I studied the sonatas and partitas thoroughly, and first performed both cycles in their entirety in the Bach year 2000, during the course of two evenings at the Mecklenburg-Vorpommern Festival.
Karl Richter’s recordings of Bach’s orchestral and sacred music influenced an entire generation of musicians and listeners, presenting the conductor’s unique sound and style. When Richter recorded Bach’s works, he freed them from a ponderous tradition that had mired the music in romantic sounds and idiom. Richter lightened Bach’s music, and, with an orchestra of outstanding musicians, helped bring it toward the more modern interpretations that listeners have become familiar with today. This is still a bit far from the historically-informed performances that are pretty much the norm, but there is a unity and natural originality that comes through the music in these recordings.
Bach's Brandenburg Concertos, named after their dedicatee the Margrave Christian Ludwig von Brandenburg, have been part of Nikolaus Harnoncourt's permanent repertoire ever since he founded his Concentus musicus ensemble. The ensemble has recorded them and played them on their tours throughout the world.
The Collegium Aureum considers itself a "resurrected court orchestra" that attempts to play music with the authentic performance practice and sound using the actual historical instruments of the Baroque, Classical, and Romantic periods of European music. The orchestra itself was founded in 1962 by the West German record company Harmonia Mundi, based in Freiburg.