Classical Music

BACH, J.S.: Orchestral Suites Nos. 1-4, BWV 1066-1069

Nunkomm, der Heiden Heiland (Now come, Saviour of the Heathen) appears in three versions. The chorale on which it is based is Martin Luther's adaptation of the original Ambrosian hymn Veni Redemptor gentium. The first of these, for two manuals and pedals, opens with the first measures of the chorale theme in the tenor, imitated at once in the alto register, over a constantly moving pedal bass. The melody is then elaborated in the upper part to form an ornamented line. The second treatment of the chorale is in the form of a Trio, three melodic lines, one for each hand and one for the pedals. Here a contrapuntal imitative opening by the two lower parts is followed by the appearance of the ornamented chorale theme, to which the two lower parts provide a postlude in conclusion. The third version of Nun komm, der Heiden Heiland is described as in organo pleno, il canto fermo nel pedale (for full organ, with the chorale melody in the pedal part). An introductory contrapuntal passage derived from the chorale leads to the solemn appearance of the chorale itself in the lowest register, successive pedal entries preceded by similar prefatory passages. The canonic variations on Vom Himmel hoch (From Heaven on high) were apparently written in 1747 and offered by Bach when he was admitted to the polymath Lorenz Christoph Mizler von Kolof's Correspondierenden Societät der Musicalischen Wissenschaften (Corresponding Society of the Musical Sciences). Bach was the fourteenth of a membership limited to twenty scholars and musicians, including, among those now better remembered, Telemann and Handel. The Christmas chorale by Martin Luther first appears in the pedal part of a Canon at the Octave that involves the two upper parts in such canonic imitation. The cantus firmus is again heard in the pedals, in the second Canon at the Fifth, followed by the chorale melody itself in canon at the sixth and in inversion in the lower voice, accompanied by a moving pedal part. Once the chorale has been heard in this form, Bachadds a canon at the third, with the upper part entering first with an inversion of the melody. A canon at the second follows, between the pedal bass and tenor in inversion, and then, at the ninth, between a pedal inversion and the top voice. This varied treatment of the cantus firmus itself leads to a Canon at the Seventh between the pedals and tenor. A Canon in Augmentation sets an augmented tenor part in canon with a more rapid upper part, with the steadier chorale melody introduced by the pedals. The Canonic Variations constitute a remarkable technical and musical tour de force.

The Leipzig Autograph opens with a Fantasia on Komm, Heiliger Geist (Come, Holy Ghost), in organo pleno, il canto fermo nel pedale (for full organ, the chorale melody in the pedal part). The chorale itself is a German version of the antiphon Veni, Sancte Spiritus, devised by Martin Luther for congregational use. An imitative contrapuntal introduction, in which three upper voices enter in turn over a sustained pedal-note, leads to the chorale melody itself, in the lowest register, chorale phrases separated with passages of varying length for the manuals. A second treatment of the same chorale, for two manuals and pedals, is in triple metre, with a fugal subject derived from the chorale, the manuals preceding the pedal entry in each section. This extended composition ends with a particularly splendid coda. An Wasserflüssen Babylon (By the waters of Babylon), for two manuals and pedals, uses a fifteenth century chorale melody from Strasburg. .Here the chorale melody is first heard in the top part, imitated in the tenor, which itself introduces the continuation of the chorale theme. This is followed by Schmücke, dich, o liebe Seele (Deck thyself, beloved soul), much admired by Schumann and based on a mid-seventeenth century chorale, first suggested in the alto part in a contrapuntal introduction, before appearing in the soprano in augmentation, its notes prolonged. The Trio on Herr Jesu Christ, dich zu uns wend (Lord Jesus Christ, turn to us) is again based on a mid-seventeenth century chorale. Here the three contrapuntal parts interweave, the left hand entering in canonic imitation of the right over a pedal-part derived from the opening notes of the chorale. This opening figure brings, in conclusion, a pedal statement of the melody, accompanied by the continuing counterpoint of the two upper parts. O Lamm Gottes, unschuldig (O Lamb of God, guiltless, slaughtered on the Cross) is based on a Lutheran version of the Agnus Dei, O Lam Gades unschüldig, by Nikolaus Decius, an early follower of Luther. This, one of the earliest chorales, is itself derived from plainchant. The three sections of the Agnus Dei allow three different treatments of the cantus firmus, which appears first in the top part, then in the middle part and finally in the pedals. Nun danket alle Gott (Now thank we all our God) is based on a seventeenth century chorale. Counterpoint based on the melody precedes the entry of the chorale itself in the upper part, a procedure that is followed throughout, in the manner associated particularly with Bach's elder brother's teacher, Pachelbel. Von Gott will ich nicht lassen (From God I will not part) treats a sixteenth century chorale dating from 1572 in Erfurt. Here again each section of the melody, played on the pedals, is introduced by a preceding contrapuntal section derived from the hymn itself. The C major Toccata, Adagio and Fugue, striking not least in the distinctive nature of the three sections into which it falls, in form the counterpart of the three movement Italian concerto of the period. The work opens with a brilliant improvisatory prelude, display on the manuals followed by a passage for pedal solo, before more elaborate counterpoint involving manuals and pedals. There follows an Adagio aria, slowing in a concluding recitative, before a capricious fugue subject, interrupted by abrupt rests, a characteristic that naturally recurs, as the four parts enter, in descending order.

BACH, J.S.: Flute Sonatas, Vol. 2

BACH, J.S.: Flute Sonatas, Vol. 1

BACH, J.S.: English Suites Nos. 4-6, BWV 809-811

Bach: The Well-Tempered Clavier, Book 1

Bach, the lute, and the lautenwerk (lute-harpsichord) have fascinated me for years. Upon investigating Bach's connection with the two instruments, one is immediately faced with the striking absence of one vital piece of evidence: though we know that many lautenwerks existed, none, to our knowledge, have survived into our time. The lautenwerk, the name by which it is usually known in German and English, was a harpsichord like instrument of one or two manuals with the same range as lute, but somewhat lower than the harpsichord. It was strung with gut rather than brass. - Nigel North, London, June 1994

Includes work(s) by Johann Sebastian Bach.

PRESIDENT'S OWN UNITED STATES MARINE BAND: Uncommon Valor

ITALIAN BAROQUE FAVOURITES

Selections recorded in August 1988, April and December 1992, June 1993, January 1994, and April 1995.

Classical Music

Glenn Gould's 1964 recording of the Bach Two- and Three-Part Inventions needs little introduction to collectors, for the simple reason that Sony has reissued it umpteen times on CD. However, this latest incarnation via the label's newly reconstituted Great Performances series yields its fullest-sounding transfer yet. As a result, the piano's infamous middle-register "hiccup" effect that Gould charmingly describes in the booklet note is more pronounced, along with background rumble (the subway?) masked in previous editions.

But what's most important is that Gould divines more character and meaning from the Inventions than many pianists who've looked upon these works as little more than teaching pieces. I especially like how Gould creates a unifying arc by juxtaposing each two-part invention with its three-part counterpart in the same key, sometimes dovetailing non-stop from one piece to the next.

In addition to the aforementioned sonic improvement, Sony includes three unedited takes for the F major, B minor, and F minor Sinfonias that stem from the 1955 Goldberg Variations sessions. Although Gould rejected the recordings, they nevertheless came out on Sony's 2005 deluxe "Birth of a Legend" Goldbergs reissue. Three complete performances of these pieces from the same sessions appear here for the first time. If you've heard Gould's 1955 CBC broadcast of all 15 Sinfonias (CBC PSCD 2005), you'll know to expect more spontaneous and pianistically oriented interpretations than the relatively astringent 1964 remakes. For example, the B minor proves friskier and lighter in touch than the later version, while conversely, the F minor is a little broader, with more melodic inflection and discreet yet ravishing dabs of sustain pedal. God only knows what bells and whistles Sony's next Gould Bach Inventions re-re-re-re-issue may bring. Until then, the present release is the one to get.

– Jed DIstler, ClassicsToday.com

This is a DSD (Direct Stream Digital) remaster.

This is a DSD (Direct Stream Digital) recording

Bach: Mass in B minor

Johann Sebastian Bach is revered by musicians and music lovers around the world. The German weekly Die Zeit has described him as the “fount of all music,” and violinist Yehudi Menuhin had a very simple explanation for our continuing fascination with Bach’s works: “He represents something greater within us.” Classical saxophonist Asya Fateyeva has engaged with Bach’s oeuvre since her youth, albeit at a disadvantage to many of her colleagues- the Thomaskantor wrote no works for the saxophone. This has not put off the young musician, who was voted Best Female Newcomer at ECHO Klassik 2016: her latest release “Bachiana” featuring works by J. S. Bach and Heitor Villa-Lobos prove her to be not only a virtuosa of her instrument but also a gifted arranger. She is ably supported by the inspired Wurttemberg Chamber Orchestra of Heilbronn under its principal conductor Ruben Gazarian. Asya writes: “Even when I was a child, I was really inspired by the music of Johann Sebastian Bach. That was when I began to play the piano, later I switched to the saxophone- and his music was simply always there. I think every musician feels the same; Bach’s universal language knows no frontiers and when you come into contact with his music, you sense that you are in touch with eternity.”

BACH:GROSSE GEISTLICHE CHORMUS

A leading ensemble of period performance practice, Concerto Koln has been acknowledged for their rediscovery of musical rarities. Regardless, the ensemble still views the Baroque as being shaped by two driving forces- Bach and Handel. For this release, parts of three masterpieces have been coupled for the first time: Bach’s “Brandenburg Concerto,” No. 5 and No. 1 of his Orchestral Suites along with Handel’s “Water Music.” Artistic Director Lorenzo Alpert explains the symbiotic nature of this release: “Our intensive engagement over the last 30 years with composers, music theorists and contemporaries from the time of Bach and Handel… opens up new vistas for us as we approach the works of these two great masters… What a joy to recreate a sound that seemed lost forever!”

As a child, Sebastian Knauer was present at seminal performances of the St Matthew Passion and the “Christmas Oratorio” in St Michael’s Church in Hamburg. And even at that early age, he enjoyed playing Bach on the piano. But his childhood enthusiasm was tempered with respect for the works of the great Thomaskantor. “I noticed at once: It is a huge challenge – not only in terms of keyboard technique, but mentally too,” he recalls. “In my student days and during the first few years of my career as a pianist I was constantly working on his music, but rarely played it in public concerts. Particularly when it came to the piano concertos, I never really felt myself to be ready, because I was searching all the time for my own picture of the music.” Sebastian Knauer deliberately gave himself time, engaging himself intensively with Bach’s musical cosmos until he was prepared to take his discoveries before an audience. The conductor’s artistic credo, that what matters for historical performance practice is not the sort of instrument you play, but the way and the style in which you play it, is one that Sebastian Knauer fully subscribes to. That is no less true of “Bach & Sons 2”, on which the pianist has once more explored the musical legacy of the Bach dynasty. It is this mixture of exceptional curiosity with the aspiration to enrich the established repertoire with unusual pieces that so typifies Sebastian Knauer – elsewhere and on this recording. Alongside the two Concertos BWV 1055 and 1056 there are real rarities on this release, such as the Concerto by C.P.E. Bach. The compositions selected by Sebastian Knauer are of great interest not only as repertoire but because they give an absorbing account of how the piano-concerto genre evolved. That is relevant to the works of C.P.E. Bach, an intermediary between the classic Baroque of his father and the dawning age of Viennese Classicism.

CANTATAS BWV29,61,140

This new release is the soundtrack from the motion picture, Bach in Brazil. The story is inspired by true events, and follows retired German music teacher Marten Brueckling as he travels to Brazil to collect a sheet of original Bach manuscript, but ends up teaching music to children in a juvenile detention center. The tracks on this release are enchanting arrangements of Bach’s best loved melodies, mixed with Brazilian flair. “Our aim in Bach in Brazil is to bring Bach’s melodies to life with Brazilian rhythms and instrumentations, rather like Marten Brueckling in the film gaining a new perspective on his life from the children and the Brazilian feeling for life.”

YO-YO MA: MADE IN AMERICA

This is a disc that many strictly "classical" listeners may pass over--not surprisingly, since this isn't really a "classical" recording. However, its illustrious and very accomplished host deserves a chance to show another side (or sides, actually) of his musical life, one that includes informal collaboration in his New York home with artists from pop, jazz, and non-western classical genres--and so he offers this rather congenial hodge-podge that somehow goes together while juxtaposing extremely diverse styles and levels of artistic refinement.

Actually, when you hear the opening track--a fine light jazz treatment of I loves you Porgy, with Bell, pianist Billy Childs, a number of other instrumental players, and featuring jazz/pop trumpeter Chris Botti--you may just wish this group would take the whole program. But we move from Gershwin to Dowland via the voice of Sting, whose slightly strained, boyish quality is overshadowed by the lively obbligato/accompaniment of Bell's violin.

There are hits--bandoneon-ist Carel Kraayenhof and Bell in Piazzolla's Oblivion and Luis Bacalov's Il Postino; Bell, baritone Nathan Gunn, and pianist Jeremy Denk in Rachmaninov's song O, cease thy singing, maiden fair (with obbligato by Fritz Kreisler); Ravi Shankar's duet for sitar and violin, performed by daughter Anoushka and Bell; Bell and Marvin Hamlisch's rendition of I'll take Manhattan--and misses: pop singer Josh Groban's Cinema Paradiso (exactly what language is that...?); Kristin Chenoweth's unconvincing, uncomfortable My Funny Valentine (not her song); bassist Edgar Meyer and mandolinist Chris Thile's weirdly meandering Look Away. But hey, this is a hodge-podge meant to capture the spirit of Bell's "anything goes" house concerts--and in that it succeeds.

Of course, the recordings were not actually made in Bell's home--rather they were made in a couple of different studios, and you can tell. There's a decided artificiality to the balances due to some odd mixing and highlighting of certain instruments that do not seem to share the same acoustic space. Nevertheless, I enjoyed this, especially for Bell's clever, artful, and always appropriately stylish playing.

--David Vernier, ClassicsToday.com

Discover Bach includes some of this great Baroque composer’s best known works, such as Ave Maria, Air, Brandenburg Concerto, Cello Suites, Goldberg Variations, and many more.; The Discover Series from Berlin Classic aims to make classics popular, firing people up about the music presented, regardless of musical taste.; Rather than focusing on complete works, this series focuses on individual pieces that have rewritten our musical history.

For 20 years now, Bell’Arte Salzburg has been one of the leading ensembles for period performance practice. For its new album “Himlische Weynacht”, the musicians under the direction of Annegret Siedel went in search of the most impressive and moving works of Luther’s day. Vocal support for Bell’Arte Salzburg in the choral works comes from young soprano Marie Luise Werneburg and the well-known bass Klaus Mertens, two exceptional vocal soloists in this genre. In consort with the ensemble, they perform a highly varied round of festive airs, adding detail to our mental picture of Luther’s time with their musical representation of a Christmas celebration in those days.

Bach: Brandenburg Concertos

Bach’s Cello Suites, the finest of all such works in the literature, speak in pure and clear voice, always spiritual yet down to earth. Isang Enders (b. 1988) was principal leader of the Dresden Staatskapelle cello section for four years before embarking on his solo career. He is a co-founder of the Ceres Ensemble and a founding member of the Int’l Shostakovich Festival. “The suites should speak, sing, dance, hunt and contemplate – altogether subjectively and characteristically. The subjective aspect of this recording is the result of my firm conviction." – Isang Enders