This is a St Matthew Passion which should please many readers. Bruggen’s interpretation is eloquent, thoughtful in matters of style and expressive content, and it benefits from a textural clarity which few competitors can rival. All aspects of Bach’s miraculous score are taken into account.
This new Ondine release by Danish-born recorder player Bolette Roed includes the music of Johann Sebastian Bach arranged for solo recorder. The works were arranged by Frans Brüggen (1934–2014), a famous Dutch recorder player and conductor, and one of the greatest exponents of the movement of historically informed performance practice. With the exception of his Partita BWV 1013, Bach wrote relatively few works for the recorder. However, composers like Bach and Vivaldi did themselves arrange many of their works for different instruments. From this point of view the work of arranging Bach’s solo cello and violin pieces for recorder is something that Bach himself could have done, had he been inspired by a talented recorder player at the time of composition.
The b minor mass is truly one of the cultural pillars of Western civilization. Whether it is a complete patchwork or put together from pieces of a design (most musicologists suggest the latter), this music is- certainly metaphorically and possibly literally- divine! Franz Bruggen chooses to use tempos, not even matched by Gardiner.
Remaining faithful to their tradition of making live recordings during the course of their concert tours, Frans Brüggen and the Orchestra of the 18th Century now come forward with the results of concerts given by them in the spring of last year with Johann Sebastian Bach’s Easter Oratorio as the centrepiece of the new release. With Ilse Eerens, Michael Chance, Markus Schäfer and David Wilson-Johnson as the vocal soloists, and with the faithful Cappella Amsterdam responsible for the choruses, Brüggen and his legendary ensemble once again demonstrate why they have been – and continue to be – one of the pillars of the historically-informed performance movement, which from the final quarter of the 20th century onwards, has stirred up so radically the way of hearing music composed before 1800.
This monumental set of recordings, originally on Das Alte Werk LP, collects Frans Bruggen performing a variety of pre-baroque, baroque and rococco works for recorder(s). Frans Bruggen put the recorder on the map as a solo instrument, and no one before or since has made such a huge impact, nor had Bruggen's musicality and expressiveness. Once the world's most famous recorder player, today Frans Brüggen is considered among the foremost experts in the performance of eighteenth century music. He studied the recorder with Kees Otten and flute at the Amsterdam Muzieklyceum. In addition, he took courses in musicology at the University of Amsterdam.
Inaugurated in 1958, Das Alte Werk quickly gained a reputation for historically informed, high-quality recordings. As the field of early music spread wider and wider and new paths were constantly broken, the imprint rapidly became the touchstone by which other labels were judged, not least for its epoch-making complete recording of Bach's sacred cantatas. Originally recorded and released in the middle 1960s, this newly-reissued 4CD, groundbreaking set of Telemann's Musique de Table (Tafelmusik) features the late Franz Bruggen and the Concerto Amsterdam.
Franciscus (30 October 1934 – 13 August 2014) was a Dutch conductor, recorder player and baroque flautist.
It was some years after founding the Orchestra of the Eighteenth Century in 1981 that Frans Brüggen first turned his attention to the music of Beethoven’s Nine Symphonies and endeavoured to perceive that special orchestral landscape, in order to transform it into musical sound, with the use of period instruments rediscovering historical tonal colours. Now, his quest undimmed, Brüggen has submerged himself once more into the glories of Beethoven’s orchestral music for a new cycle being issued in a sumptuous new hybrid SACD box set by Glossa.
Traditionalists may rue the day, but the historical performance movement has come to Chopin, and it's clear it has a lot to offer in this release by Argentine pianist Nelson Goerner and the veteran Orchestra of the Eighteenth Century under Frans Brüggen. Goerner plays an 1849 Erard instrument, some 20 years younger than the music of the youthful Chopin that's on the program, but arguably representative of a sound ideal he would have had in his head.