And that’s particularly pertinent in the French Suites, the most approachable – though no less inspiring or perfectly conceived – of Bach’s keyboard suites. CG 89 Ave Maria : Meditation on first Prelude of Bach < Gounod, Charles < FREE (115) Opus 68 Album for the Young (Album für die Jugend) < Schumann, Robert < FREE (108) BWV 248 Christmas Oratorio < Bach, Johann Sebastian < FREE (103) Adeste fideles < Wade, John Francis < FREE (103) Buy sheet music. As a matter of tactics disregarding the printed order of the works, this second disc opens in the most effective way with a joyous performance of the ever-invigorating E major Preludio. When it comes to the treacherous chordal cadenza at 6'11 into the finale, Perahia keeps up the momentum without either flagging or straining his tone. Equally enlivening is a tight attention to articulative detail and tasteful ornamentation which keeps the music bouyant and forward-moving at all times. Some take the buoyant Gigue of the Fifth Suite at a more headlong pace, yet Perahia’s feels just so: the rhythms are bright and springy, full of energy without freneticism, and joy is palpable in every note. Common to the Monteverdi Choir’s performances over the years are their inimitable textual projection, clarity of line, rhythmic rigour and an overriding sense of expectancy and flair, just occasionally slipping a little too eagerly into exaggerated gesture. Rachel Podger has already attracted much praise for her recordings of the solo violin music, but is heard here to even better advantage in the Six Sonatas for Violin and Obbligato Harpsichord, BWV1014-19, for which she is joined by Trevor Pinnock (of whose English Concert she is now the leader). She preserves the shape in the A minor Grave's ornate tangle of notes; she judges to a nicety the balance of the melodic line against the plodding accompanimental quavers of the Andante; she imbues the C major's Adagio with a hauntingly poetic musing atmosphere, and her lucid part-playing of its Fuga could scarcely be bettered. Maybe the finale of Sonata No 2 seems rather frantic and the wonderful Adagio ma non tanto of No 3 a touch lumpy, but there really is not much else to criticise. Because, as with Shibe, and to paraphrase Schweitzer, their Bach so clearly sounds like it must be a summation of everything that has gone before. Above all, they are fresh and joyous. The chorales of Bach are much more complex than the simple style found in [1], but also Bach’s techniques can be made rather concrete. As with so much mainstream repertoire, the catalogue is so full of recordings – good and bad – that there often has to be some form of abstract justification to qualify any further additions. Or rather, let us have both. Perahia brooks neither distraction nor unwanted mannerism. For encores there are Beethoven’s E flat Bagatelle from Op 33 and the Bach-Hess Jesu, Joy of Man’s Desiring where Gieseking plays with admirable restraint while not quite equalling Dame Myra’s own inimitable poise. By contrast, the C minor Prelude and Fugue stands out for Pobłocka’s hard-hitting detached articulation. Levit’s musical personality is as integrated and mature as his technique. Bach took a lot of care over their reworking; and Hewitt and Co do likewise over their re-creation. Though this at first may seem like a surprisingly light-touch reading from Gardiner, it is in fact one with a firmly controlled atmosphere of hurt and vulnerability. The often protracted D minor Sinfonia retains its melodic poignancy at Fellner’s headlong pace, although his tapered phrasing of the F minor Sinfonia’s theme grows predictable with each repetition. In the 19th-century Bach Gesellschaft edition the canon was published in Volume 451, p. 138. That certainly does not imply any absence of virtuosity: there have been few recordings of these pillars of the repertoire so impeccable in intonation and so free from any tonal roughness. Indeed, it is the directness of his interpretations that is so telling; there is almost none of that slightly coy rubato that some other flautists use to disguise the need to breathe. In this presentation the Passion – the service, not the oratorio – starts with an Easter chorale, first in Bach’s organ setting (played by Butt) and then sung by a congregation (actually the University of Glasgow Chapel Choir) alternating verses with a solo Mulroy. All this is a far cry from, say, Glenn Gould’s egotism in the 48, or the sort of performances that can make genius a pejorative term. But in the grip of its conceits and its virtuoso executancy, captured in the strikingly immediate recorded sound of LSO St Luke’s, this High Mass joins a distinguished discography at high table. Singet dem Herrn is typically exuberant in its outer ‘concerti’ but the unique double-choir juxtaposition of chorale and free contrapuntal ‘rhapsody’ could perhaps have yielded more genuine contemplative warmth. Violinists have no need to envy the Cello Suites, since Bach left them an equivalent solo work: the Sonatas and Partitas. Werner Güra’s narration takes a little time to warm up but by Part 2 he is in full swing with both unequivocal delivery and an impressive bravura in the unwieldy “Frohe Hirten”. From this, he has found his own way with Bach – highly individual but never mannered. On the evidence of this powerful, superbly framed and exceptionally judged account, Masaaki Suzuki may instead have reached a point where, over decades of intensely dedicated Bach performance, a revisiting simply became a necessary rite of passage – as it has for many before him. The recording is superb and how remarkable that what are arguably Gould's two greatest records should be his first and his last.' Not for a moment is the listener given the impression that his view of the music is merely skin deep. Chorales also appear in chorale preludes, pieces generally for organ designed to be played immediately before the congregational singing of the hymn. He ends his journey with the A minor Fantasia and Fugue, BWV904, which again is unerring in its sense of build, the closing bars of the Fugue making a fittingly grandiose conclusion to the disc. For all its referencing various traditions, the overall signposting is pitched in the ‘middle of the road’ (and I mean that simply as one likely to satisfy as broad church as any available recording) and yet it appears remarkably fresh-sounding. Impossible, however, not to mention in passing his ethereal start to the set (that light, bouncing staccato above a singing bass-line in No 1), or the disconsolate, phantom yet ordered voice he achieves in No 4. Yet although Gieseking’s phenomenal aural sensitivity earned him a unique reputation in French piano music, his repertoire was all-embracing. His account of Kempff’s transcription of the chorale prelude Nun freut euch is less anchored by the chorale tune itself and more flighty in effect than Kempff’s own performances (Eloquence). Lionel Salter (January 1998). When Trevor Pinnock first recorded the Brandenburgs with the English Concert for DG Archiv in 1982, period performances of these works were relatively rare; today they abound, and it has become harder to make a mark in music that does not readily admit a wide range of interpretations. Retrouvez Complete Book Of Bach Chorales (Archive Edition) et des millions de livres en stock sur Amazon.fr. 19's previously light and dancing measures are humorously slow and precise. Curiously, perhaps, it is the baroque cellist, Anner Bylsma on RCA who often provides close parallels with Fournier. And together she and this superb orchestra show exemplary contrapuntal clarity while also outlining the music’s architecture through glinting dynamic changes or compelling long-range crescendos and diminuendos. 371 Chorale Harmonisations Item Preview remove-circle Share or Embed This Item . The choir are excellent, of course, with a solid but clear and intimate sound even in the larger choruses, no end of expressive means in the chorales, and a thrilling quickness in the crowd choruses. But such fine nuances only emerge in the dutiful process of comparison, rather than in the wholly absorbing experience of Levit traversing another musical peak. For Wanda Landowska‚ they seemed initially ‘incoherent and disparate’ and it takes an exceptional artist to make such wonders both stand out and unite. And so it continues: almost as if Ólafsson is offering different angles on the statue of Bach that he keeps by his piano – one that ‘looks like wisdom incarnate, stern-faced and majestic in its wig’. Take as read the urgency, clarity, balance and declamatory unanimity of the chorus; Lindsay Kemp described the equivalent in Butt’s version where the effect of ‘a [single] voice within the mix only adds to this impression of reality’. Great instrument aside, this is largely down to the judicious alchemy of Suzuki’s perception of how architecture and local colour can collide to mesmerising effect. Theo’s bass is clear and firm throughout, providing a centre of gravity for violinists Rachel Harris and Farran Scott to really dance. Chercher les emplois correspondant à Best bach choral works ou embaucher sur le plus grand marché de freelance au monde avec plus de 18 millions d'emplois. Simply glorious. And while Edwin Fischer is consistently spontaneous, he is rather less elegant than Perahia – and his version of the A major Concerto sounds to me as if it’s ‘Busonified’ (or something very similar). Johann Sebastian Bach (31 March 1685 – … If the chorale is in a cantata, it is usually (but not always) … And has the Prelude, Fugue and Allegro ever sounded so contemporary in its nostalgic sweetness and, in the final movement, sheer unabashed joy? Any list of great Bach recordings is, of course, going to be subjective, but we hope that this list will give a helpful guide to those embarking on their first excursions into Bach's music, as well as those looking to add to already expansive record collections. Anderszewski’s CDs are all too infrequent, so let’s cherish this one. It’s just that in his case the act of surpassing takes him that little bit further. Readers who prefer the charisma and extrovert flourishes of Tortelier (EMI), the penetrating though sometimes unstylish gestures of Casals (EMI References), or the brilliant but too often superficial readings of Schiff (EMI) and Maisky (DG) may be hard to win over to these concentrated, personally unassuming interpretations by Fournier. That in his music by a thorough harmonic analysis underneath each phrase a Passion performance has sense! This recording for five days but I think, than its big,!, just as gripping to listen first to Shibe ’ s E minor Sonata, pure! 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