Bach, Mischa Maisky

"The Bach Suites are the great baritone soliloquies of music, and Maisky has the voice for them: marvellously firm and unrestrained in the upper register, always true in pitch, never unpleasant and yet rarely giving the impression that anything as frivolous as tonal beauty is the goal … The recording captures the sense of a lone musician responding inquisitively and strongly, with all his mind and technique, to divine dictation." - The Times

These three sonatas - composed originally for the viola da gamba and harpsichord - are very musically-appealing compositions. And unlike previous Baroque cahmber-music tradition, the harpsichord is not relegated to mere continuo but projected into the spotlight as co-soloist - perhaps to showcase some of Bach's keyboard virtuosity. There are several fine period recordings of these works on viola da gamba and harpsichord (Savall, Peri, Crum, Wispelwey) or modern cello with harpsichord (Ma, Tortelier). But if your taste favors all modern instuments (cello, piano), then this circa-80's CD by the legendary Martha Argerich and Misha Maisky is the ticket.

Mischa Maisky started studying the cello at the age of eight. An immensely talented student, he entered the Riga Conservatory. Discouraged by the rigid curriculum, however, he moved to Leningrad in 1965. He not only won the Soviet Union's national cello competition, but also had an acclaimed debut with the Leningrad Philharmonic. In 1966, Maisky won a prize at the International Tchaikovsky Competition in Moscow.

A fitting tribute to Mischa Maisky, who celebrates his 60th birthday on 10 January 2008, and also the 25th anniversary of recording with Deutsche Grammophon - not to mention his 30-year partnership with Martha Argerich.

Instrumental transcriptions of Johann Sebastian Bach's keyboard music have been legion witness just how many there are of The Musical Offering and The Art of Fugue and yet very few of them seem to catch on. One notable exception is violinist and conductor Dmitry Sitkovetsky's 1985 trio arrangement of the Goldberg Variations, made to observe Bach's tercentenary and as a memorial to pianist Glenn Gould, more readily associated with the Goldbergs than perhaps any other musician aside from Johann Gottlieb Goldberg himself.

When you've got a good thing going, as Russian-born Israeli cellist Mischa Maisky did with his first two solo cello albums, Meditation and Adagio, why not continue? So here is his third collection of lovely and well-loved classical themes, most of which are specially arranged for cello and piano, several by Maisky himself. Included are Debussy's Clair de lune and Saint-Saëns's Allegro appassionato.

SCHUBERT: SONGS WITHOUT WORDS is an elegant recital by pianist Daria Hovora and cellist Mischa Maisky that allows us to hear Schubert songs, beautifully rich as they are with the texts as sung by many of our finest singers, here solely for the instrumental line. Somehow the interplay between melody and accompaniment (always an equal partnership in Schubert's hands) is heightened by this experience. Not that the entire album is appropriated by the cello standing in for a vocalist: the opening work is "Sonata for Arpeggione and Klavier" and is one of the highlights of the CD. But just listen to the performances of 'Standchen', 'An die Musik' and 'Du bist die Ruhe' and hear the extraordinary marriage between the piano and cello, singing as beautifully as any other version. This is one of those CDs that bears keeping out for multiple listenings in the late evening.

This very personal album, dedicated to Mischa’s young daughter Mila, features all new recordings with his daughter Lily Maisky (piano).