Ton Koopman

Bach’s St. John Passion with a star-studded lineup of soprano Johennette Zomer, countertenor Andreas Scholl, tenor Mark Padmore, and bass Klaus Mertens, conducted by Ton Koopman, was bound to be—and indeed was—an enjoyable affair. A little over two years ago the Bavarian Radio Symphony Orchestra performed the B-minor Mass with him, now they tackled the ‘smaller’ Passion…

Much of Bach’s organ music was written during the earlier part of his career, culminating in the period he spent as court organist at Weimar. Among many well-known compositions we may single out the Dorian Toccata and Fugue in D minor, BWV 538, the Toccata, Adagio and Fugue, BWV 564, Fantasia and Fugue in G minor, BWV 542, Passacaglia and Fugue in C minor, BWV 582, Prelude and Fugue “St Anne”, BWV 552 (in which the fugue theme resembles the well-known English hymn of that name), Toccata and Fugue in D minor, BWV 565, and the Toccata and Fugue in F, BWV 540. Chorale preludes are compositions for organ that consist of short variations on simple hymn tunes for all seasons of the church year.

Bach composed in Leipzig the biggest part of his cantatas. A cantata is a composition in several parts for one or more voices and instruments, where arias, recitatives and chorusses alternate. Often these were preceded by an instrumental introduction, a sinfonia. In Bach's earliest cantatas these were also called concerto, sonata or sonatina. These instrumental works are collected on this album.

It is unclear how many organ concertos Joseph Haydn has written in total. Several of them are of doubtul authorship. Previously, ten concertos were attributed to Haydn, but these days, scholars have serious doubts about at least four of them. There is also discussion about the particular solo instrument for which the concertos were written. In the second half of the 18th century, the German word ‘Klavier’ denoted at least four instruments: pianoforte, harpsichord, organ en clavichord. There is little chance that these concertos were written for clavichord, mostly because it is unable to produce the required volume. The pianoforte is an instrument that plays a more prominent role in Haydn's later works, but was not yet in fashin when Haydn was 'Kapelmeister' at the court of Esterhazy.

Maybe one of the best version out there. Koopman's playing is elegant, his approach dancelike making it very pleasant to the ear. Also the sound of the recording is excellent.

Only from the mid-1730s does Bach seem to be concerned with composing songs to contemporary lyrics. We find such a small series especially in the second piano booklet for Anna Magdalena Bach. He and his wife composed some "new songs" that certainly enriched everyday life in the family, such as making music together in the evening or prayers at home with their children. Among these six songs, there are especially those whose lyrics provide comfort.

Audio quality of this German Archiv recording is noticeably pleasant to the ear. Louder parts do not have the accompanying outbursts of digital junk noise typically present in many digital recordings; it's just pure sweet music. Archiv did this one right. Recommended for the high audio quality. Every piece is a masterpiece played with verve and energy.