Hopkinson Smith J.s. Bach. Suites Nos.1,2,3 (2013) [qobuz 24 96]

Two cantatas written by Johann Sebastian Bach for Michaelmas in 1726 and 1728/29 respectively build the framework of this recording. They tell of the Archangel Michael‘s victory over Satan. At the center of the cantata „Es erhub sich ein Streit“ is the tenor aria „Bleibt, ihr Engel“ (Stay, ye angels), which gives this recording its name.

Complete live concerto 02.02.1936. ARPCD 0869, New HD Mastering in 2024.

The term ‘toccata’ is derived from the Italian ‘toccare’, ‘to touch’ and is a work intended as a display of manual dexterity, usually for a solo keyboard instrument. Within the toccata form other styles may be incorporated such as an adagio movement and a fugue.

Bach composed ten partitas – three for solo violin, one for solo flute and six for keyboard. As the term partita may mean, to quote from the Oxford Composer Companion to Bach, “a suite of dances or a set of variations” – it is no more precise than many other musical terms. If there is no obvious difference between the partita and the suite, there seems to be no justification for two separate terms. In the sixteenth century partita indicated one of a sequence of variations, but this meaning evolved, coming to signify a collection of movements and later – by the time of Bach's keyboard partitas – a suite of dances.

On this recording, Norwegian pianist Nils Anders Mortensen presents three of the six partitas for keyboard (nos. 1, 5 and 6). There will be a second CD with the three remaining partitas (nos. 2, 3 and 4).

Raaf Hekkema: Since I started teaching at the Royal Conservatory in The Hague, I have become more conscious of my self-chosen mission: to create a place for the saxophone within the classical music tradition. One way to do this is to forge a stronger bond between the players and the classical tradition, in the knowledge that the saxophone repertoire too is indebted to the great composers of the past. The most influential of them all is, without a doubt, Johann Sebastian Bach.

I have often wondered what kind of music would Johann-Sebastian Bach compose if he were alive today and, in this case, what would he write for a such a versatile instrument as the baritone saxophone. Would he create works influenced by traditional music or, on the other hand, he would experience in the rich sound palette of this instrument? As we never know the answer, I thought that the best way to have an idea would be to play his music together with other works of current styles.

Bach's six suites for cello (BWV 1007 to 1012) are regarded as the must-haves of the instrument's repertoire. In this recording, Valérie Aimard offers a generous version that radiates without ever seeking effect for its own sake. With finesse and subtlety, the performer honours Bach's greatness.

Bach's Six Brandenburg Concertos are essential and enduringly popular works in the Baroque orchestral repertory, full of interesting instrumentation choices and dancing melodies. Under the direction of prize-winning Bach specialist John Butt O.B.E., the ensemble has become particularly acclaimed for its inquisitive approach, shining new light into some of the best known pieces of the Baroque repertoire. Dunedin Consort, the team that brought you ‘John Passion', is back with its first instrumental release: ‘J.S. Bach: Six Brandenburg Concertos'. Under the direction of Bach specialist John Butt, Dunedin Consort demonstrates its collective experience and historical knowledge in an exceptionally insightful and fresh performance.