To use that word from the 1980s, this disc features "dynamite" performances of four works by the second surviving son of J.S. and Maria Barbara Bach. Born in 1714, Emanuel Bach's life and career spanned the age of Haydn, Mozart, and even a young Beethoven, and his music, which only recently has been given a deserved respect for its independence and often audacious originality, stands as both a tribute to his father's influence and a proclamation of a new age, not only of style but of the composer's role in determining it.

There are many fine recordings of C.P.E. Bach's works in the catalog--the symphonies on Harmonia Mundi by the Hungarian group Concerto Armonico Budapest and the keyboard concerto series from Finnish period-instrument ensemble Opus X on BIS are standouts; but certainly that list must also include this release from Montréal-based baroque orchestra Arion, whose renditions of these two concertos and two symphonies get everything right--that is, they fully realize the substantial drama and emotional range inherent in these works while delivering some of the crispest, gutsiest performances you'll hear, capitalizing on the sandy timbres of the period strings, the flute's warm, wood-fired resonance, and the at-once bright and full-bodied subtlety and power of the harpsichord.

If you've not experienced C.P.E. Bach's music before, well, you've been missing some of the best music of the 18th century--but you can begin your discovery right here, and you'll certainly be surprised at, well, the surprises that Bach throws at you: the abrupt shifts of mood, of tempo, of harmony; the seamless transitions from movement to movement in the symphonies; the absolutely captivating way he builds his material to climaxes and then pulls the rug out and begins again. The slow movements of the two concertos are masterpieces of the "genre"--this Bach cannot be accused of not knowing just how to write a heart-tugging tune, or how to set it for maximum effect--and affect. And the fast movements are uniformly, irresistibly moving--in every sense of the word. There simply isn't a dull moment here, and, dare I say it?--this flute concerto isn't just well written and expertly performed--but it is really exciting!

But much of the credit here must go to the terrific playing by everyone concerned--the last movement of the flute concerto (the final track on the disc) leaves you happily breathless, delighting in the expressive technique and truly spectacular ensemble work--and hopefully with renewed (or new) appreciation for the creations of this often underrated Bach. The musicians were fortunate to have a recording team whose artistry matched their own. Don't miss this one.

– David Vernier, ClassicsToday.com

DOMESTIC OPERA

BACH Orchestral Suite No. 1. Brandenburg Concerto No. 5. Concerto for Flute, Violin, and Harpsichord, “Triple Concerto.” Concerto for 2 Harpsichords in C • Jaap ter Linden, cond; Claire Guimond (fl); Chantal Rémillard (vn); Hank Knox (hpd); Luc Beauséjour (hpd); Arion (period instruments) • EARLY-MUSIC .COM 7753 (78:12)


Based in Montreal, the Arion baroque orchestra was founded in 1981 by Claire Guimond, Chantal Rémillard, Hank Knox, and gambist Betsy MacMillan, the only founder not featured on this recording. Claire Guimond is their conductor, but habitually they have imported key figures to lead their group, in this case Jaap ter Linden. At first I wondered why this particular grouping of Bach orchestral pieces: they seem to have been chosen to feature the group’s founders. They are a talented bunch. Listening to the Fifth Brandenburg , which I first heard under Alfred Busch, I am impressed by the not-so-inevitable zest of the band, and by Hank Knox’s dramatic harpsichord playing. They don’t linger over the movement marked Affettuoso: here I think other recordings, such as the Pinnock, are preferable. And I have to confess that the First Orchestral Suite is not my favorite. Yet this is stylish Bach playing on early instruments, recorded exquisitely in 2001 and reissued here. I still admire Marriner’s orchestral suites, the Busch Brandenburg Concertos (as well as Pinnock, Marriner, and others). This recording, though, is a wholly pleasing modern recording of a unique collection of Bach’s music.


FANFARE: Michael Ullman

D'Anglebert, J.H.: Pieces de clavecin

Maria - Madre di Dio

Mozart, W.A.: Flute Quartets Nos. 1-4

TELEMANN Flute Concertos: in D, TWV 42:D6; in g, TWV 42:g2; in A, TWV 42:A3; in e, TWV 42:e3; in b, TWV 42:h1; in a, TWV 42:a2 • Claire Guimond (Baroque fl); Luc Beauséjour (hpd) (period instruments) • EARLY-MUSIC.COM 7755 (72: 19)


The six works recorded here were published in Hamburg around 1715–20 with the title Six Concerts and Six Suites for Harpsichord and Flute, or for Harpsichord, Flute and Cello, or for Violin, Flute and Cello or Basso Continuo, or for Harpsichord, Violin, Flute, and Cello. This was obviously an attempt to market these works to as wide an audience as possible. Guimond and Beauséjour contend that Telemann’s original intention was to compose these works for harpsichord and flute, which is the way they are performed here. The flute and harpsichord engage as two equal voices. The “concertos” or “concerts” of the title do not imply a work for solo instrument and orchestra. Rather, they are more closely related to the trio sonata, written in the sonata da chiesa style of four movements, slow-fast-slow-fast.


These six works display Telemann’s ability to write genial, attractive music, though it must be admitted they are not among the most compelling compositions to flow from Telemann’s ready pen. Guimond plays with grace and has good control of her instrument. Beauséjour provides excellent support.


These concertos are not available elsewhere as a group; I only found one concerto otherwise available. This is certainly not an essential purchase, but it makes for pleasant listening.


FANFARE: Ron Salemi

This release offers one potential answer to a particular question: what happens to a musical performance when it is directed towards the bringing-to-life of a story? In this case, that story is the iconic one of Orpheus and Eurydice, realized in eight different ways by eight different composers of the past. Multiple prizewinning harpsichordist Mark Edwards—whose interpretations challenge the usual boundaries between musical text and act—performs works that, if they don’t explicitly refer to the Orphic narrative allying music, death, and rebirth, surely cast some light on it and are in turn illuminated by it. Mark Edwards reveals himself a lucid and inspired performer, following the hero as he descends, like him accomplishing wonders along the way through his art. First prize winner in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards (b. 1986) is recognized for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, [...] of his virtuosity, and of his imagination” (La Libre Belgique).