Bach: Johann Sebastian Bach

The world-renowned early music specialist and keyboard player Ton Koopman and the violinist Catherine Manson perform the six Sonatas for Harpsichord and Violin, BWV 1014-1019 of Johann Sebastian Bach on this new 2-CD set for Challenge Classics. Their previous collaboration on the label was an outstanding recording of the music of Buxtehude. Catherine Manson enjoys a versatile performing career specialising in period performance as a soloist, chamber musician and orchestral leader. She became the current leader of the Amsterdam Baroque Orchestra in 2006, and as first violinist of the London Haydn Quartet has been involved in a critically acclaimed series of recordings of the Haydn quartets for Hyperion.

With this volume 4 in a complete recording of Bach’s keyboard works whose ingenuity has been underlined by every reviewer (e.g. Gramophone, July 2020), Benjamin Alard continues to explore the Weimar period, known as that of his ‘early mastery’. After À la française, we turn to Italy, where the Vivaldian concerto reigned in Venice. The young Bach created here a wonderful space of freedom between the transcriber and the improviser. For ‘if transcription is a matter of freedom, it is also a matter of powerful imagination: each piece on this recording transports us into a Venetian universe that fascinated Bach as much as it inspired him’, as Benjamin Alard demonstrates on three exceptional instruments.

For those that prefer to hear these works on piano rather than harpsichord, you can hardly find more enjoyable, illuminating, and elegant performances than these. Andras Schiff has surely become one of the most prominent proponents of J.S. Bach on the piano and its hard to believe these particular discs were ever allowed to slip from commercial availability. Their re-issue here is reason to rejoice. It is with good reason that another chapter in the career of Andras Schiff has started recently with his new series of Beethoven Sonatas on ECM, and of course more Bach. He is a true master, and the Bach Concerto recordings with the Chamber Orchestra of Europe, led by Schiff himself, exemplify this and count as essential listening.

Capella Cracoviensis, recently discovered on the Alpha release Te Deum, returns here under the direction of Fabio Bonizzoni. Together they present a highly vigorous reading of these monumental works - Their virtuosity brings out to the full the magnificent counterpoint while never neglecting the text, so vital in the motet genre.

For fans of Il Giardino Armonico's flamboyant flourishes and exuberant expressiveness, it's like having all your birthdays at once, being presented with this great Warner Classics 11 CD set. My own feeling is that this "free" approach to Baroque music is at its best when applied to the theatrical music of disc 8 or the seventeenth century Italian music on disc 1. The showmanship and playfulness is an absolute joy in many of those pieces. I'm less satisfied with the interpretations of Bach's Brandenburg Concertos, (on discs 10 and 11), which require a different approach, I feel. I like my Bach to be a little more measured and subtle, I suppose. It has no need of the Il Giardino Armonico treatment. On the whole, though, I do love this set and wouldn't be without it.

Bach’s youth was a vast field of observation. From the years of apprenticeship in Ohrdruf, where his precocious artistic sensibility was dazzlingly demonstrated, to his first major post as organist at Arnstadt, Bach constantly enriched his musical culture, underpinned by a strong family tradition and driven by iconic respect for the old masters, crucial affinities and unfailing curiosity. As the prelude to a complete recording of a new kind, the eloquence and vigilant intelligence of the admirable Benjamin Alard’s playing are the ideal medium to reveal the technical mastery of Bach’s early keyboard works and convey the essence of this young composer’s musical discourse at a time when he was already measuring himself against the yardstick of predecessors and contemporaries alike.

In this second instalment of complete keyboard works, Benjamin Alard demonstrates with splendid eloquence how invaluable the young Bach’s north German experience proved to be; his attentive examination of the works of the great organ masters and his craving for all kinds of music significantly broadened the stylistic foundations of his keyboard writing. The wide range of works presented here, complemented by pieces by Buxtehude, Reinken and Pachelbel, illustrates in exemplary fashion the power of a master in the making.

Recorded for Calliope between 1975 and 1991, André Isoir’s version of the complete organ works of Johann Sebastian Bach was an exceptional undertaking that received unanimous acclaim from press and public alike. La Dolce Volta here reissues this set, unavailable since 2008, on 15 CDs at a highly attractive price. These interpretations which have achieved legendary status for their magical touch and ornamentation, their supremely elegant and inward sculpting of phrases, are now enhanced by stylish new presentation (remastered sound, luxury packaging, recent interview with the artist, full details of the instruments).