This interpretation is a perfect match to Savall's equally beautiful Art of the Fugue. Here you find even more variety in the blend of instruments. I am not going to have only one version of this music and my first recommendation is Münchinger's more emotional recording on Decca. When it comes to colourful instrumentation, however, Savall is the winner, and the direction & playing needs no justification, it is simply wonderful, even if I doubt this folk music style reflects the spirit of the baroque era.
Pinnock’s performances of the Bach Harpsichord Concertos first appeared in 1981 and have dominated the catalog ever since. In the solo concertos he plays with real panache, his scholarship tempered with excellent musicianship." "The double, triple and quadruple concertos are digital, and the combination of period instruments and playing of determined vigour certainly makes a bold effect.
What a wonderful contrast! Handel’s Dixit Dominus and Bach’s Magnificat represent the two oft-compared composers at Dixit . He had already written two Italian operas, and his career path clearly pointed in that direction. The Dixit is as extravagant as Bach’s Magnificat is controlled. The two pieces are such a good fit that one wonders why they haven’t turned up together more frequently, if, in fact, they have at all.
Originally recorded in stereo in 1978 and 1979 and released on two separate LPs, these performances of Bach's Orchestral Suites (also known as the Overtures) with Trevor Pinnock leading his English Consort were as good as it got at the time for period instrument performances. And this 2007 single-disc re-release does not change that assessment. The Consort's strings are dry but warm – check out the Air from the Third Suite – the winds are colorful and quirky – check out the Forlane from the First Suite – the brass is controlled but cutting – check out the Ouverture from the Fourth Suite – and the timpani is vivacious but thankfully not overwhelming – check out the Réjouissance, also from the Fourth Suite. Pinnock's conducting is almost universally light and lively, and when it's not in the Second Suite, it's because the music itself is dark and dreary. Although there are dozens of great performances of the suites to choose from, if you're only going to have one recording on the shelf, it should be Pinnock's.(James Leonard)
Four discs of key recordings by the most revered classical guitarist of our time, many debuting on CD! Disc one, "Concertos," features works by Rodrigo, Ponce and Boccherini. Discs two and three, "Works for Solo Guitar," include Seis Pavanas Milan; Granada Albeniz; Praeludium & Allegro De Murcia, and more. And disc four collects Segovia's celebrated arrangements of works by J.S. Bach. Over five hours of gorgeous guitar mastery!
Conducted by Nikolaus Harnoncourt. A fantastic concert celebrating the coming of Christmas, recorded live at one of Austria's finest baroque monasteries. Soloists are Christine Schafer, Anna Korondi, Bernarda Fink, Ian Bostridge, Christopher Maltman. With the Concentus Musicus Vienna and the Arnold Schoenberg Choir.
As one of the major early music groups founded by virtuoso gambist and conductor Jordi Savall, Le Concert des Nations has served effectively as his orchestra since 1989 in repertoire ranging from the 17th to the 19th century, covering music of the Baroque and Classical periods on original instruments. This set of J.S. Bach's six Brandenburg Concertos has the recognizable stamp of Savall and his expert musicians on it, in the energetic pacing, stylish ornamentation, radiant instrumental colors, and the authentic character of the music, which is faithfully conveyed through lively ensemble playing. Whether it's a rugged, boisterous sound, which is frequently the tone of Bach's allegros, or a refined, courtly interpretation, as in the affecting slow movements, Savall and his ensemble make the music feel fully alive, spontaneous, and generously expressive, and at no point do the concertos feel like academic exercises or museum pieces. Savall and Le Concert originally released these performances of the Brandenburgs on the Astree label in 1991, but these hybrid SACDs on Savall's own Alia Vox label make the concertos sound better than ever, with discrete placement of parts in the multichannel recording and incredibly lifelike sound, which focuses on the finest details.
Following several acclaimed albums of Handel’s operatic and choral masterpieces (including a triumphant Giulio Cesare with Natalie Dessay as Cleopatra and the oratorio La Resurrezione with British soprano Kate Royal), French harpsichordist and conductor Emmanuelle Haïm at last brings her fresh, expressive approach to Messiah. Joining her on a musically and spiritually uplifting journey for this long-awaited recording is Haïm’s own choir and period-instrument orchestra, Le Concert d’Astrée, with four of the UK’s finest Handelian singers. Having begun her career as a brilliant harpsichordist and protegee of Baroque pioneers William Christie and Christophe Rousset, Haïm has a long history with Messiah.