"Keyboard exercises, consisting of an ARIA with diverse variations, for two-manual harpsichord. Prepared for the enjoyment of music lovers by Johann Sebastian Bach, composer for the Royal court of Poland and the Electoral court of Saxony, Kapellmeister and Director of Choral Music in Leipzig." These are the words which can be read on the title page of Bach’s one and only large variation work which was published in Nuremberg in 1741.

In Johann Nikolaus Forkel’s Bach biography, published in 1802, we find the anecdote which led to the name “Goldberg Variations” under which this work is still known today: “Once, the Count [Hermann Carl von Keyserlingk] expressed to Bach that he would like to have some keyboard pieces for his [private musician Johann Gottlieb] Goldberg, which would be of such a gentle and lively character that he would be cheered up a little in his sleepless nights. Bach believed that he could best fulfill this wish by writing variations, which he had hitherto considered a thankless task because the basic harmony was always the same. But, in the same way all of his works were already artistic models at this time, these variations also turned into such under his hand. Yet, he only produced one single model of this kind. The Count subsequently called them his variations. He never tired of them, and for a long time, whenever he had sleepless nights, he would say: Dear Goldberg, play me one of my variations.”

Mechthild Winter, specialist for Early Music and living in “Bach City” Leipzig, has chosen this large variation work for her second solo CD and plays with her usual mastery. She uses a copy of a Ruckers harpsichord built in 1624 and enlarged in 1720.

Holland Baroque presents Bachs Königin, an album full of masterful organ works by J.S. Bach, transcribed for the orchestra by Judith and Tineke Steenbrink.

These creative interpretations add unique colours and a fresh spirit to baroque monuments. Here is yet another chance to enjoy Bach’s genius. Holland Baroque is an original and innovative baroque orchestra that approaches baroque repertoire through a fresh and contemporary approach, with a focus on improvisation and collaborations with outstanding artists from different traditions. Minne is their fifth Pentatone album, after having released Minne (2022) Brabant 1653, Polonoise (both 2021) and Silk Baroque (2019) with the label.

This is the third and final installment of the Well-Tempered Consort series (5 Diapasons, Gramophone Editor’s Choice, BBC Music Magazine Chamber Choice). In this program devised by its director Laurence Dreyfus, the viol consort Phantasm continues to shine new light on the fugues from Bach’s Well-Tempered Clavier interspersed with some of the composer’s most harmonically adventurous experiments from the Clavierübung III. This polyphonic feast also includes two works from the Inventions and Sinfonias as well as the Fantasia in G major BWV 572, or Pièce d’orgue as it is sometimes called, which boasts an extraordinary closing pedal point. A fitting end to a remarkable journey!

New piano transcriptions by Greek pianist Alexandra Papastefanou of various Cantatas, an Organ Sonata and a Chorale Prelude by J.S. Bach, all recorded here for the first time. The famous Myra Hess transcription of Bach’s cantata Jesus bleibet meine Freude concludes a fascinating new look at some of Bach’s choral and organ works.

In recent decades, Johann Sebastian Bach's works have undergone numerous transcriptions and adaptations. Since the 1960s, the guitar repertoire has seen the addition of several Bach pieces originally intended for the lute, an instrument that is undoubtedly among the most akin to the modern six-string guitar. Following the increasingly in-depth study of Bach's work and the spread of the classical guitar, several harpsichord pieces have also been transcribed and performed. This album magnificently displays these pieces by exploiting the rich dynamics and full polyphonic capacity of the guitar.

The Clavier-Büchlein vor Wilhelm Friedemann Bach and the Clavier-Büchlein vor Anna Magdalena Bach hold an important place, as these collections offer a glimpse into Bach’s familial and didactic spheres of action. Within the Friedemann Bach collection, we find the two Praeambula (BWV 924 & 926), characterised by arpeggiated writing, probably a model for students to create a first simple improvisation. Further on, the Fantasias that appear in the final part of the collection show a wonderful degree of contrapuntal complexity. Although there were 2 versions of the Anna Magdalena collection, the one which has survived almost in its entirety seems to have been intended as a family album, with contributions not only from Anna Magdalena (J.S. Bach’s wife), but also from her son Carl Philipp Emanuel and other composers. The pieces in this collection, including vocal pieces written for Anna (an accomplished singer), are most commonly small dance forms characterised by an essential and refined homophonic-style writing. The Anglaise and Minuet from the French Suite No. 3, as well as the more solemn Allemande from the French Suite No. 4, are clear examples of the gracefulness of these compositions, which show a subtler sound texture than those of other series of Bach suites, as well as a more limited use of counterpoint. Also of exquisite elegance is the Minuet from Partita BWV 825, taken from the first volume of the Clavier-Übung.

This album also includes some famous works, among them the preludes from the French Suite No. 3 and Johann Peter Kellner’s collection. These are rather varied pieces, written for teaching purposes and passed down through written transcriptions from Bach’s pupils. Some are extremely short but show some degree of harmonic density and sometimes a rather chromatic style, while others have a slightly broader structure and a writing more similar to the Inventions, with a systematic use of counterpoint. The album also features works from other prominent composers – George Philipp Telemann and C.P.E. Bach – as well as two lesser-known composers, Gottfried Heinrich Stölzel and Christian Petzold.

Whether or not they actually traveled south of the Alps, as Handel did early in his career, all 18th-century German composers of note were influenced by the Italian style of vocal and instrumental writing at the time. Manuel Tomadin’s latest album for Brilliant Classics explores the connections between these apparently disparate traditions, beginning with the Toccata, Adagio and Fugue BWWV564 which stands among the most striking examples of JS Bach’s work during his years as Capellmeister to the ducal court in Weimar (1710-1717). The Italian qualities of the concerto-like nature of the opening Toccata in BWV564 and then the pathos of the Adagio, with its walking bass and Neapolitan harmonies, are underlined by the following transcription made by Bach of a Vivaldi Concerto, the A minor RV522, and then Walther’s transcription of a concerto by Torelli. Just as Bach was later influenced by the violin playing and writing of the virtuoso Pisendel, German-born but widely traveled in Italy, Johann Gottlieb Graun was a pupil of Pisendel’s who had also studied with the prince of Italian violinist-composers, Giuseppe Tartini, and so Tomadin includes a solo-organ concerto of Graun’s which abounds in violinistic figuration. An arrangement of Handel’s opening Sinfonia to his oratorio Esther, another Vivaldi concerto and Bach’s magnificent A minor Prelude and Fugue BWWV543 complete this stimulating program.

This album is also a valuable record of the historically significant organ in St Peter’s Church in the Dutch town of Leens. Dating from 1733-34, and thus contemporary with the music recorded here, the instrument is the work of the Dutch organ-builder Albertus Anthoni Hinsz. He modelled his designs on the instruments by the Schnitger family who dominated North-German organ-building at the time, and the example in Leens is a superbly preserved and scrupulously restored example of this heritage. The booklet is generously annotated with an essay by Manuel Tomadin exploring the Italian connections between the music on the album, a history of the organ, a full stop-list and a record of the specific registration used for each piece.

Arabella Steinbacher presents works for violin and orchestra by Johann Sebastian Bach and Arvo Pärt, together with violinist Christoph Koncz and the Stuttgarter Kammerorchester. Bach’s violin concertos have had a very special significance for Steinbacher ever since hearing the A Minor Concerto at the age of four, an experience that made her decide to become a musician. This seminal work is performed here alongside the E Major Violin Concerto and the Double Concerto in D Minor, on which she is joined by violinist Christoph Koncz. The Bach concertos are framed by two of Arvo Pärt’s most profound and enigmatic pieces: Fratres and Spiegel im Spiegel; the former in the version for violin, string orchestra and percussion, the latter rendered in a version for violin and piano, together with Peter von Wienhardt. Bach and Pärt may be centuries apart, but for Steinbacher, they have a spiritual and sacred origin in common, and their music resonates deeply with her. Arabella Steinbacher is a multiple award-winner with an extensive Pentatone discography, including Mozart’s complete violin concertos (2014 and 2021), Four Seasons (Vivaldi & Piazzolla, 2020), Mendelssohn & Tchaikovsky Violin Concertos (2015) and many others. Christoph Koncz and the Stuttgarter Kammerorchester make their Pentatone debut.

REVIEWS:

I’ve long been a fan of Steinbacher’s; I’ve raved about her playing in a wide variety of repertoire: Bartok, Brahms, and Hindemith and Britten. Here she plays two Bach Violin Concertos: in E major and A minor, and a Bach Concerto for Two Violins in D minor, with another fine violinist, Christian Kontz. Once again Pentatone provides fine accompaniment: the agile and stylish Stuttgarter Kammerorchester.

Two Arvo Pärt pieces bookend the three Bach concertos. His Fratres comes in many versions; this one, for violin, string orchestra and percussion, is from 1992. This is a suitable prelude to the meat of the program: hushed and reverential, but in the end as dramatic a curtain raiser as a Rossini overture. The final piece, Spiegel im Spiegel, in its original 1978 version for violin and piano, acts as a kind of valedictory encore. Once again, Arabella Steinbacher has a fine partner, in pianist Peter von Wienhard.

-- Music for Several Instruments (Dean Frey)

From the evidence of this new Pentatone album of Bach concertos, Steinbacher's artistry of the violin reveals an ever-increasing maturity. The lovely slender tone, flawless cantabile and sheer love of melody she has displayed in her earlier recordings is still there, along with an increased awareness of the harmonic basis of the great works of music she performs. And her sure hand in shaping the graceful contour of a given melody is more skilled and knowing than ever.

-- Audio Visual Club of Atlanta (Phil Muse)

For this album, the musicians of the Apollo Ensemble withdrew to their homes, and in the wake of the Covid-19 pandemic they came together to play Bach, Handel and Telemann composers they know like the back of their own hands. The new release "German Delight" by the Apollo Ensemble contains six examples of 'music for Kenner und Liebhaber'. Much of the German musical canon was written not for large and extravagant occasions such as weddings, coronations and opera, but be to played at home among small groups of friends and families. This genre of music was noted by Carl Philipp Emanuel Bach as being music for 'Kenner und Liebhaber' (professionals and amateurs), and it is known to many through the 19th century German Beidermier tradition. Since this music was never intended for large audiences, and often performed by capable colleagues, the composers could let off steam and pull out all the stops.

On this new release, Bach's sonatas BWV 1027 - 1029 are combined with two stunning works by Arvo Pärt (Spiegel im Spiegel, Fratres).

Annette Bartholdy is one of the most sought-after violists of the young generation. Born in Berne, Switzerland, she is a winner of many national and international competitions and awards (“Schweizer Jugend Musikwettbewerb”, study awards from the “Schweizerische Tonkünstler Verein”, “Orpheus Förderungspreis”, Pro Musicis International Award). Annette Bartholdy has worked with masters such as Vladimir Ashkenazy and Andras Schiff and has appeared as a soloist with leading European ensembles such as the European Camerata.

Benjamin Engeli is one of the most versatile Swiss musicians of his generation. His career as a soloist, chamber musician and teacher has taken him to most European countries as well as to Australia, China, India, North and South America.

Over 20 years ago, Alex Ross, the noted music critic for the New Yorker, described the atmosphere of a Martha Argerich recital in terms reminiscent of the golden age of nineteenth century piano virtuosos: “Her concerts conjure up scenes from another place and time: grown men running down the aisles clutching bouquets, world-renowned musicians pummeling the railings of the upper boxes, jaded critics breaking into foolish smiles.” The subject of these rapturous responses, has, unlike the traditional virtuoso, played relatively few solo recitals, preferring to make music with others. Early in her career she often performed as a recitalist and a handful of recordings and live broadcasts remain as a testament. This set is the 12th volume of DOREMI's special series of live performances and broadcasts featuring the artistry of the young Martha Argerich. All items are first release ever.

Edoardo Turbil is considered one of the most brilliant Italian pianists of his generation. Praised by leading figures of the international music world, such as Paul Badura-Skoda or Solomon Mikowsky, who hailed him as an “excellent pianist, with sensitivity and a well-developed technique,” and “able to satisfy the highest artistic expectations,” Turbil has appeared—as recitalist, soloist with orchestras, or in chamber ensembles—in the most important Italian and international concert halls and seasons, such as the Teatro Regio in Turin (with the Philharmonic Orchestra of the 1900s), the Festival of the Two Worlds in Spoleto, the Alte Oper Mozart Saal in Frankfurt, the “G. Verdi” Theater in Turin (with the Orchestra Sinfonica Giovanile del Piemonte), the Sala Mozart of Accademia Filarmonica in Bologna, the Sala della Pergola and Municipal Theater in Florence, the Zunfthaus zur Waag in Zurich, the Albrizzi Palace in Venice, and also in San Jose, Santa Clara, Bern, Rome, among others. On this release he performs a program of works by Prokofiev, Bach, and Villa-Lobos.

In 2012-14, these six albums were issued as individual books, in which format they attracted praise both for the depth of their insights and the excellence of the performances: ‘”Elegant” is the word for this production, equally worthy to give or to keep’ Fanfare (Volume 1). This box makes them available once again at a superbudget price, with a new introductory essay by Peter Quantrill in the booklet, and all the original essays republished at brilliantclassics.com. The result is a highly attractive box for both Bach collectors and for newcomers to the inexhaustible treasure-trove that is his output of cantatas.

The selection of repertoire ranges chronologically from early masterpieces such as Christ lag in Todesbanden BWV4 and the Passacaglia BWV582 to the long period of his maturity as Cantor in Leipzig, when Bach wrote five cycles of cantatas for each feast-day in the church calendar. An important feature of Bach in Context is the use of the church organ as both a continuo and solo instrument. Each album opens with a piece of organ music (a Toccata or Prelude) and ends with another voluntary such as the corresponding fugue.

The albums explore resonant themes which run through Bach’s music, in several cases linked by the chorale hymns on which he based organ and vocal fantasias in his cantatas and motets. Led by the experienced Bach performer Pieter-Jan Belder, who has recorded all of the composer’s harpsichord music for Brilliant Classics, these performances feature one voice per part in a tightly knit vocal consort, according to the theories outlined by Joshua Rifkin, and which have since won wide acceptance. The singers are led by Harry van der Kamp, who has recorded cantatas with many other distinguished early-music directors such as Gustav Leonhardt and Ton Koopman.

American pianist Steven Beck’s new recording combines seven intriguing compositions by Charles Wuorinen with two acknowledged masterpieces by J.S. Bach: the Goldberg Variations, BWV 988; and Prelude and Fugue in A major, BWV 864, from the Well-Tempered Clavier, Book One. The unusual pairing of the two composers was chosen by Beck in recollection of a performance of the Goldbergs he gave at the home of Charles Wuorinen. Beck's choice of the Bach prelude and fugue also honors the last Bach piece Wuorinen practiced, during his final months. Steven Beck's virtuosity has been heard on numerous Bridge recordings, most recently, George Walker's Five Piano Sonatas (BRIDGE 9554).

REVIEWS:

Steven Beck, an excellent pianist and champion of contemporary music, was the committed soloist, deftly revealing the elegiac and frenetic moods of this rhythmically and harmonically complex work.

-- New York Times, on Beck's world premiere performance of The Haroun Piano Book

Ever since Pablo Casals awakened Johann Sebastian Bach’s cello suites from a slumber of over 150 years back in 1900, they have fascinated and inspired composers, performers, and audiences alike. They are a mountain range with six peaks, which cellist Felix Vogelsang is now releasing on GENUIN on three albums. Complementing them are six additional works for solo cello, five of which Felix Vogelsang commissioned especially for this production. In addition to Ernest Bloch’s dark, much too rarely played Suite in C minor, we hear works by Jérémie Rhorer, Gerhard Gemke, Carl Theodor Hütterott, and Paul Glass. Vogelsang works out the relationships of the works to each other with richly nuanced and precise cello playing - repertoire additions to Bach’s beautiful suites that are worth listening to!

The eminent Martha Argerich is one of the most loved and admired classical pianists of all time. She quickly gained and maintained world-wide reputation for her exciting performances. This set is the 11th volume of DOREMI's special series of live performances and broadcasts featuring the artistry of the young Martha Argerich. Most items are first release ever. The performances here are live recordings from her Venice recital in February 1969, and from her Cologne broadcast in September 1960.