Bach: 6 Partitas, BWV 825-830

On this CD:

1. Partita for keyboard No. 1 in B flat major, BWV 825
Composed by Johann Sebastian Bach
Performed by Christophe Rousset

2. Partita for keyboard No. 2 in C minor, BWV 826
Composed by Johann Sebastian Bach
Performed by Christophe Rousset

3. Partita for keyboard No. 6 in E minor, BWV 830
Composed by Johann Sebastian Bach
Performed by Christophe Rousset

4. Partita for keyboard No. 3 in A minor, BWV 827
Composed by Johann Sebastian Bach
Performed by Christophe Rousset

5. Partita for keyboard No. 4 in D major, BWV 828
Composed by Johann Sebastian Bach
Performed by Christophe Rousset

6. Partita for keyboard No. 5 in G major, BWV 829
Composed by Johann Sebastian Bach
Performed by Christophe Rousset

Tracks:

Partita No. 1 In B Flat Major, BWV 825: Praeludium
Partita No. 1 In B Flat Major, BWV 825: Allemande
Partita No. 1 In B Flat Major, BWV 825: Corrente
Partita No. 1 In B Flat Major, BWV 825: Sarabande
Partita No. 1 In B Flat Major, BWV 825: Menuet I - Menuet II - Menuet I da capo
Partita No. 1 In B Flat Major, BWV 825: Giga
Partita No. 2 In C Minor, BWV 826: Sinfonia: Grave adagio - Andante - Allegro
Partita No. 2 In C Minor, BWV 826: Allemande
Partita No. 2 In C Minor, BWV 826: Courante
Partita No. 2 In C Minor, BWV 826: Sarabande
Partita No. 2 In C Minor, BWV 826: Rondeaux
Partita No. 2 In C Minor, BWV 826: Capriccio
Partita No. 4 In D Major, BWV 828: Ouverture - Allegro
Partita No. 4 In D Major, BWV 828: Allemande
Partita No. 4 In D Major, BWV 828: Courante
Partita No. 4 In D Major, BWV 828: Aria
Partita No. 4 In D Major, BWV 828: Sarabande
Partita No. 4 In D Major, BWV 828: Menuet
Partita No. 4 In D Major, BWV 828: Gigue

Tracks:

Partita No. 3 in A Minor BWV 827: Fantasia
Partita No. 3 in A Minor BWV 827: Allemande
Partita No. 3 in A Minor BWV 827: Corrente
Partita No. 3 in A Minor BWV 827: Sarabande
Partita No. 3 in A Minor BWV 827: Burlesca
Partita No. 3 in A Minor BWV 827: Scherzo
Partita No. 3 in A Minor BWV 827: Gigue
Partita No. 5 in G Major BWV 829: Praeambulum
Partita No. 5 in G Major BWV 829: Allemande
Partita No. 5 in G Major BWV 829: Corrente
Partita No. 5 in G Major BWV 829: Sarabande
Partita No. 5 in G Major BWV 829: Tempo di Minuetta
Partita No. 5 in G Major BWV 829: Passepied
Partita No. 5 in G Major BWV 829: Gigue
Partita No. 6 in E Minor BWV 830: Toccata - (Fugue)
Partita No. 6 in E Minor BWV 830: Allemande
Partita No. 6 in E Minor BWV 830: Corrente
Partita No. 6 in E Minor BWV 830: Air
Partita No. 6 in E Minor BWV 830: Sarabande
Partita No. 6 in E Minor BWV 830: Tempo di Gavotta
Partita No. 6 in E Minor BWV 830: Gigue

Amazon.com

Sometimes it helps not to specialize. As Angela Hewitt expands her horizons beyond Bach, her Bach, paradoxically, has ripened tenfold, as revealed in this magnificent set of partitas. One listens in vain for a single slip-up in timing or voicing. Articulation is marvelously varied, but never for the sake of variety itself. More to the point, the music's dancelike subtexts bring out a more deeply felt, emotionally three-dimensional music-making than encountered in Hewitt's previous Bach efforts. This gifted pianist has come into her own. Hear her. --Jed Distler

Customer Reviews:

Good work without much personality.......2005-07-12

This was one of the first collections of Bach's Partitas I purchased on CD, having been promoted by British critics. Hewitt's playing in this music is linear, inoffensive, crystalline and lacking in personality. These are good performances but I don't believe this pianist is the final word in this music. The sound on these full priced CDs is fine.

I've tested a number of individual performances (Argerich, Pires, Wolf Harden, Anderszewski,others) and complete sets (Glenn Gould, Richard Goode, Andras Schiff, Roselyn Turek and Christopher Sager on piano and Igor Kipnis & Trevor Pinnock on harpsichord, Richard Troeger on clavichord) and have found some of the same shortcomings in all the sets or CDs recorded individually. A newer set by Craig Sheppard has gotten universally good reviews by U.S. critics; I haven't heard it.

In particular, Gould can be impatient and is poorly recorded part of the time. Sager is the epitome of blandness and Goode is not far behind. Turek is a unique voice in Bach and anything she does should be given utmost consideration. Her recordings of the Partitas contain all her typical characteristics -- deliberate approach, heightened elocution and near new discovery of the counterpoint. However, her approach is not always dynamic and will not suit all tastes.

On harpsichord, Pinnock's recordings are fascinating but don't wear well over time because they all sound so much alike. Only Kipnis, it seems to me, understands the difference between each Partita and how to project those differences in Bach's individual voice and humanity. Of the sets I've tested, his comes closest to portraying the unique qualities of the each of the six Partitas. Troeger's clavichord recording is a disaster -- slavishly metrical, unimaginative and ugly sounding.

I continue to cling to individual favorites (see my past reviews) including Elena Kuschnerova's fabulous performance of the titantic Partita No. 6, Gould's remarkable performance of Partita No. 4 and the unbelieveable performance of the Partita No. 1 by Dubravka Tomsic, included in a dirt cheap CD that I called "Best Bach CD on the Planet" in my Amazon review. It is a crime more people don't know about this remarkable CD, which is available for $4.98.

I hope a piano set arrives someday that mimics some of the individual creativity from Kipnis with the drama of Kuschnerova and uncanny musical understanding of Tomsic. Until that time, I wouldn't recommend you spend the better part of $30 for this collection, although this one better than overrated groupings by Richard Goode and Andras Schiff.

One woman and a piano..........2004-03-31

I first heard Angela Hewitt playing Bach on the radio, and immediately sought out a recording. This is what I ended up with, and months later it is still revealing new riches. The music, of course, is vast and rich, and Hewitt breathes life into every note. This is not the cold mathematical playing that some advocate for Bach (and that his music survives), this is Bach that sings and dances, contemplates and exults. Try this out if you want to hear how one slender woman, a piano, and a long dead composer can collaborate to create an entire world.

Superb Performances of Sublime Music.......2003-07-12

It is amazing that Bach's Partitas are the first compositions that he published, though he had written hundreds of others before them. It is also sobering that he had to pay for their publication, as he did for many of the 12 works that were published in his lifetime. [About 1080 compositions have survived, but it is thought that Bach probably wrote about 2000.]

These pieces are among the best of Bach's keyboard works and are played beautifully by Angela Hewitt. I enjoy hearing them played on harpsichord, too, but when they are played on the piano, I want the performer to treat it like a piano as Ms Hewitt does.

Tracks:

Partita No.1 in B flat, BWV 825: Prld
Partita No.1 in B flat, BWV 825: Allemande
Partita No.1 in B flat, BWV 825: Corrente
Partita No.1 in B flat, BWV 825: Sarabande
Partita No.1 in B flat, BWV 825: Menuet 1 & 2
Partita No.1 in B flat, BWV 825: Giga
Partita No.2 in c, BWV 826: Sinf, Grave Adagio - Andante - Allegro
Partita No.2 in c, BWV 826: Allemande
Partita No.2 in c, BWV 826: Courante
Partita No.2 in c, BWV 826: Saranbande
Partita No.2 in c, BWV 826: Rondeaux
Partita No.2 in c, BWV 826: Capriccio
Partita No.4 in D, BWV 828: Ov
Partita No.4 in D, BWV 828: Allemande
Partita No.4 in D, BWV 828: Courante
Partita No.4 in D, BWV 828: Aria
Partita No.4 in D, BWV 828: Sarabande
Partita No.4 in D, BWV 828: Menuet
Partita No.4 in D, BWV 828: Gigue

Tracks:

Partita No.3 in a, BWV 827: Fant
Partita No.3 in a, BWV 827: Allemande
Partita No.3 in a, BWV 827: Corrente
Partita No.3 in a, BWV 827: Sarabande
Partita No.3 in a, BWV 827: Burlesca
Partita No.3 in a, BWV 827: Scherzo
Partita No.3 in a, BWV 827: Gigue
Partita No.5 in G, BWV 829: Plrd
Partita No.5 in G, BWV 829: Allemande
Partita No.5 in G, BWV 829: Corrente
Partita No.5 in G, BWV 829: Sarabande
Partita No.5 in G, BWV 829: Tempo Di Minuetto
Partita No.5 in G, BWV 829: Passepied
Partita No.5 in G, BWV 829: Gigue
Partita No.6 in e, BWV 830: Toccata
Partita No.6 in e, BWV 830: Allegmande
Partita No.6 in e, BWV 830: Corrente
Partita No.6 in e, BWV 830: Air
Partita No.6 in e, BWV 830: Sarabande
Partita No.6 in e, BWV 830: Tempo Di Gavotta
Partita No.6 in e, BWV 830: Gigue

Customer Reviews:

A good introduction.......2005-05-12

I first got the Igor Kipnis keyboard partitas (on harpsichord), and more recently purchased this two-CD set. I think this would have been better to get first, partially because of the multitudinous ornaments Kipnis adds on the repeats (I was somewhat new to this concept). Also, hearing them on the piano is a completely different experience again.

a Penguin guide rosette... for good reasons!.......2003-05-31

Roberts has long been considered one of Britain's finest pianists. His performances here of Bach's Partitas are astoundingly fresh and beautiful. Recording took place in 2000, and its quality is also first rate. These two CDs were rewarded the Penguin classical Guide's "rosette" which indicates recordings of exceptionally high quality. That is certainly the case here.

Average customer rating:

Bach: 6 Partitas BWV 825-830

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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General | Chamber Music | Classical | Styles | Music
ASIN: B000KQGOAY
Release Date: 2007-06-12

Bach: English Suites, Partitas - Gustav Leonhardt (4 CD's)

Average customer rating:

Factual correction regarding the instrument used in the English Suites
Wonderful sarabandes
excellent performance, and outstanding value
Disappointed

Bach: English Suites, Partitas - Gustav Leonhardt (4 CD's)
Gustav Leonhardt , and Johann Sebastian Bach
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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J.S. Bach: The Goldberg Variations

ASIN: B00030FJ30
Release Date: 2004-11-16

Tracks:

1. Prelude
2. Allemande
3. Courante 1/Courante 2 Avec Deux Doubles
4. Sarabande
5. Bourree 1/Bourree 2/Bourree 1
6. Gigue
1. Prelude
2. Allemande
3. Courante
4. Sarabande/Les Agrements De La Meme Sarabande
5. Bourree 1 Alternativement/Bourree 2/Bourree 1
6. Gigue
1. Prelude
2. Allemande
3. Courante
4. Sarabande/Les Agrements De La Meme Sarabande
5. Gavotte 1 Alternativement/Gavotte 2 Et la Musette/ Gavotte 1
6. Gigue

Tracks:

1. Prelude (Vitement)
2. Allemande
3. Courante
4. Sarabande
5. Menuet 1/Menuet 2/Menuet 1
6. Gigue
1. Prelude
2. Allemande
3. Courante
4. Sarabande
5. Passepied 1 En Rondeau/Passepied 2/Passepied 1
6. Gigue
1. Prelude
2. Allemande
3. Courante
4. Sarabande/Double
5. Gavotte 1/Gavotte 2/Gavotte 1
6. Gigue

Tracks:

1. Praeludium
2. Allemande
3. Courante
4. Sarabande
5. Menuets 1 & 2
6. Gigue
1. Sinfonia (Grave/Adagio/Andante)
2. Allemande
3. Courante
4. Sarabande
5. Rondeau
6. Capriccio
1. Fantasia
2. Allemande
3. Courante
4. Sarabande
5. Burlesca
6. Scherzo
7. Gigue

Tracks:

1. Ouverture
2. Allemande
3. Courante
4. Sarabande
5. Aria
6. Menuet
7. Gigue
1. Praeambulum
2. Allemande
3. Courante
4. Sarabande
5. Tempo Di Menuetto
6. Passepied
7. Gigue
1. Toccata
2. Allemande
3. Courante
4. Sarabande
5. Air
6. Tempo Di Gavotta
7. Gigue

Customer Reviews:

Factual correction regarding the instrument used in the English Suites.......2006-08-06

The instrument Leonhardt plays in his recording of the English Suites is not a genuine antique, but rather a forgery made by Skowroneck and passed off by GL for a decade or so as a harpsichord made in 1755 by Nicolas Lefebvre of Rouen. Lebvre was a real organbuilder and instrument maker in Rouen in the middle of 18th century, but none of his harpsichords actually survive. All was revealed by Skowroneck in a fascinating article in the Galpin Society journal in 2002. The instrument, incidentally, is really fine and sounds as good as many antiques

Wonderful sarabandes.......2005-05-23

I agree with the previous reviewer (banjoboomer), these are wonderful performances, and, as he points out, Leonhardt does play the repeats in the sarabandes. And how beautifully he plays those sarabandes! In fact I fell in love with how Leonhardt plays the sarabande of partita no. 4; he plays it so naturally and with such a sense of timing that one does not easily realize how magnificently it is actually played.

excellent performance, and outstanding value.......2005-04-26

These are fine, nuanced, and well-recorded performances of both the English suites and the Partitas. Although, as the other reviewer notes, Leonhardt skips the repeats in most movements, the low price tag and the quality of the interpretation more than make up for this quirk. (And just so you can rest easy: Leonhardt *does* take the repeats in the Sarabandes where Bach has written out the ornamentation to his simple melodic line, so nothing is "left out" on that score.) The instrument in the English suites is an authentic German harpsichord of the period, restored by the great Skowroneck, and the Partitas are played on a William Dowd replica. In both cases the recording engineering avoids both the over-closeness that mars many of Kenneth Gilbert's otherwise provocative performances and the distance that can rob a recorded harpsichord of its richness. That said, the main attraction here is the interpretation, which similarly avoids the extremes of metrical rigidity and distracting overelaboration. I'm still in love with Pinnock's more recent recording of the Partitas on Hänssler, but I cannot recommend this pairing strongly enough, if you're looking for an historically informed performance of these works.

Disappointed.......2005-03-24

While this seems a great value-Gustav Leonhardt playing the Partitas and English Suites for under $20-there is a catch: None of the repeats are taken. I had to return the set.

Average customer rating:

Fine
Goode at his best
Reflection of the Performer's Heart and Mind
More bust than boom
It doesn't get better than this.

Partitas Nos 1 3 & 6
Bach , and Goode
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Bach: Six Partitas, BWV 825-830 (Edition Bachakademie Vol 115) /Pinnock (harpsichord)

ASIN: B000084T5L
Release Date: 2003-04-01

Tracks:

Fantasia
Allemande
Corrente
Sarabande
Burlesca
Scherzo
Gigue
Praeludium
Allemande
Corrente
Sarabande
Menuet 1/Menuet 2
Giga
Toccata
Allemanda
Corrente
Air
Sarabande
Tempo Di Gavotta
Gigue

Customer Reviews:

Fine.......2007-06-27

This is a fine CD of Bach's partitas 1, 3 and 6; the music itself, the performance, and the sound-quality of the recording are just fine. However, on each of those considerations, I strongly prefer Goode's other, earlier recording of Bach's partitas 2, 4 and 5--I like the music much better, and the recording gives the piano a nice, warm sound that I found more enjoyable. While both CDs are worth having, the CD of partitas 2, 4 and 5 is one of the most enjoyable and best-sounding piano recordings I've ever heard.

Goode at his best.......2007-02-24

Goode seems to be stuck in a dichotomous world -- either listeners love him or hate him. I was first introduced to Goode with his Chopin works and was unimpressed. Like many of the reviewers have stated with this recording, Goode didn't seem to completely understand Chopin. His straight-forward style of playing didn't match the romanticism of Chopin's works.

That said though, it was this similar style of playing that really hits the essence of Bach's partitas. I reversed my view of Goode with this disc. Having had only limited exposure to other performances of Bach's partitas, I can only state that for those of you who are looking for some recording of the partitas, this is a great buy. I listen to these all the time. They are light, relaxing, well-played and beautiful.

Reflection of the Performer's Heart and Mind.......2004-03-14

If you know Richard Goode, you know his impeccable intellectual integrity based on deep exploration of the ideas behind his chosen music. Richard's open heart, curiosity, kind acceptance of the world, and generosity of spirit grant him a rare ability to penetrate immediately to the hearts of other people--or music. His rare balance of mind and spirit may help explain his world-scale success. But his world-conquering spirit was always there in his person. When we studied Chinese together in the early 1970's (when China was still closed to outsiders), he expected to tour one day in China. More than most students, he sought to understand the character of Chinese thought embedded in the language. Similarly, his deep understanding of the classical view of life was never more clear than in his insightful performance of a Stravinsky piano sonata: The delicacy and symmetric structures of Mozart were transparent behind the playful modernisms. I'm almost sorry he has become especially famous for his interpretations of Bach. I admire deeply his profound and yet slightly aloof interpretation of Partita 6--as though Bach were playing the piano. Still, I believe he's at his most profound on the cusp of Romanticism. Late Beethoven, Schubert. ... Will he play the Brahms clarinet sonata with David Shifrin one day? His refined, elegant and deeply intellectual restraint holds in check his extravagent and open emotionalism. Perfect for Brahms.

More bust than boom.......2004-03-08

Rave reviews confirm that Richard Goode is a leader among the most overrated Bach pianists of this time. I owned his first recording of the wonderful Partitas and wasn't impressed, selling the CD shortly after receipt. This CD reinforces my belief in the shortcomings of his Bach playing. Have no doubt that Goode is a fine player; he hits all the right notes. He uses the pedals appropriately, too. He simply doesn't understand the music very well, even though his excellent notes rightly compare the Partitas to the Beethoven piano sonatas! Goode's style is fleet, superficial and uninvolved. He moves through the music with no real sense of occasion. Phrases played in repeat sound exactly the same as the first time through. Listen to pianists like Dubravka Tomsic, Kristina Svanberg and Elena Kuschnerova in Partitas 1, 3 and 6 to hear everything Goode misses, or simply buy a set of the Partitas by Roselyn Turek. Any of these women's work with elucidate the inadequacy of Richard Goode as a Bach interpreter.

It doesn't get better than this........2003-08-17

A great recording of great music.

Average customer rating:

Anderszewski finds beauty and truth in Bach
REFRESHINGLY INTUITIVE BACH
Virtuosity and technique galore but needs time to understand Bach
Bach would be pleased.
I love it !

Bach: Partitas Nos. 1, 3, 6

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B00005UV9B
Release Date: 2002-12-23

Tracks:

I. Toccata
II. Allemande
III. Courante
IV. Air
V. Sarabande
VI. Tempo Di Gavotta
VII. Gigue
I. Fantasia
II. Allemande
III. Courante
IV. Sarabande
V. Burlesca
VI. Scherzo
VII. Gigue
I. Praeludium
II. Allemande
III. Courante
IV. Sarabande
V. Menuet I
VI. Menuet II
VII. Gigue

Amazon.com

The flourish that begins the Sixth Partita's Toccata is a hint of things to come--this is Bach sounding easy without skimping on its monumentality. The following fugue is gently played but absolutely clear. Elsewhere, Piotr Anderszewski might remind you of Glenn Gould--his attacks on fugal entrances are sharp and purposefully noticeable--as in the fugue in the Gigue that ends the Partita No. 6. He embellishes the written score nicely in the Allemande of the First Partita, and just to hear him play the final Gigue from the Partita No. 1 is enough reason to buy this CD: the playing is fleet and spotless, the rhythm never flags. The effect is exhilarating. Throughout, Anderszewski's dynamic range is vast, with soft passages lolling us into relaxation and the grander moments truly being grand. This is a beautiful recording. --Robert Levine

Customer Reviews:

Anderszewski finds beauty and truth in Bach.......2006-03-19

Every concert-goer has slept through a big-anme pianist's attempt to conquer Bach on the Steinway. Bach's music is at once pristine and commanding; it requires Glenn Gould's originality in order to expand to the piano's dimensions. Unlike the harpsichord, the piano responds to the slightest change in touch, yet Bach gives the player no expression markings to guide him and no tempo changes to add variety. The usual result is that the pianist drones on trying to imitate the evenness of the harpsichord's tone, or he romanticizes the melody and distorts the rhythm in a vain attempt to sound personal.

I would say that Piotr Anderszewski, however, being almost as idiosyncratic as Gould and an equal worshipper of Bach, has a good chance of making a legacy in this music (no one else really has since Gould's death). He has an intuitive feeling for shaping a line that's rare. He has the imagination to make musical points without being inrusive, and he has the fingers for subtle shading. In all, a compelling combination, even for someone like me who rarely listens to Bach keyboard works. I listened to this recital all ears.

REFRESHINGLY INTUITIVE BACH.......2005-08-19

Under the wrong fingers, Bach's magnificent Partitas can, at best, languish in homogeneity or, at worst, become icons of monotony. With Piotr Anderszewski, not so; in his hands, a natural balance is consistently achieved throughout. In an impressive recording that is both warm and transparent, individual movements are superbly judged and contrasted; ascending and descending motifs garner admiration; inner voicing is a constant source of pleasure and wonder, with both hands equally superb; especially quirky trills are delectable, flourishes surprisingly engaging; the counterpoint, a marvel of clarity. There is youthful passion here, yes, joyful in its expansive, gregarious nature, but simultaneously contemplative and, quite often, deeply melancholy, as well. While his relatively "modern" delivery may judiciously subjugate standard Baroque practice, though never misrepresenting Bach in the process, in so doing Anderszewski liberates this timeless music from metronomic constraint, immensely broadens its appeal and unabashedly unshackles its melodic lines.

[Running time: 68:10]

Virtuosity and technique galore but needs time to understand Bach.......2005-07-14

Piotr Anderszewski won the Kalamazoo, Mich.-based Gilmore Competition a few years ago, taking home its $300,000 first prize. He made a spate of recordings afterward including this one.

Based on the evidence presented here, this fellow is like a lot of young award winners. He has stupendous technique and can't wait to show it off. Whether that happens to merge with the requirements of the music he's playing is a question needing an answer. My answer is not often enough.

In the titanic Partita No. 6, one of Bach's very greatest keyboard compositions, Anderszewski makes his approach known in the first few moments and rarely strays. His work is fast, virtuosic, not Baroque in any way, and usually without much thought about the contents of the music.

While listening I often asked myself, as I did during the Courante, "Where's the fire?" Anderszewski simply refuses to take his time and allow the music to unfold. He blazes through the pages of the score as if he was late for a dinner date.

Using occasional rubato and pedaling that obscures the counterpoint, Anderszewski turns this music into a virtuoso feast...until he reaches the 7 minute, 15 second Air, when a different personality takes over the keyboard. Here is music that is thoughtful, creative and melodious, exposing Bach's score writing and his human qualities. For once the music speaks in Bach's voice.

All too soon it's back to the rat race at 120 MPH and heart beating at 120 beats per minute. His lack of ornaments in the concluding Gigue seemed to indicate he might be tiring of his own slapdash format.

The Partita No. 3 is more of the same with a caveat or two. Anderszewski slows down and enjoys a singing tone in the Sarabande but also does some weird stuff with the right hand in an unnecessarily showy manner that gets in the way of the music. His very unBaroque accents in the Scherzo indicate this is not a player attuned to 17th century style.

Compared to the first two numbers, Anderszewski was either worn out or of a different mind when he got to Partita No. 1. The Praeludium is relaxed from the opening notes and attentive to Bach's counterpoint. His good work continued in the Allemande, although I'd have preferred more pointed left hand playing.

The Sarabande is very nice but, at 6 minutes, 14 seconds, is also a tad short. The pianist is very creative in the Menuet section before closing with another display of virtuosity, and ends the piece unusually silently.

All told, I was most impressed by the speed with which Anderszewski raced through this music. I compared his recording times to my favored versions of these Partitas (Elena Kuschnerova in No. 6, Kristina Svanberg in No. 3, and Dubravka Tomsic in No. 1) and found Anderszewski's times were faster in most movements.

In two of the most important sections, Anderszewski's Tocatta of No. 6 and Sarabande of No. 1 were both almost one minute faster than the competitors. While speed doesn't always kill in classical music, his consistent whirlybird approach worked against the mathematical genius demonstrated in the two handed counterpoint that is the essence of these creations.

It's clear Piotr Anderszewski is a significant talent with magnificent technique. In addition, the recording is unquestionably truthful and in its own way the equal to Anderszewski's playing.

The notes aren't much; they talk about the music for two pages in three languages without a word about the player. One other note -- this recording gets much louder at the end of each Partita than during the 5-6 sections preceding that time. I think this may be the first time I've ever encountered such engineering in a CD.

Piotr Anderszewski is quite a keyboard artist but I can't fully get on board with this young man's approach to very mature music. He'll better understand this in another 20 years or so and will, hopefully, record these great works of art again at that time.

Bach would be pleased........2003-05-11

While enjoying Mr. Anderszewski make beautiful music with these partitas, it is easy to imagine J. S. Bach near the end of his life sitting at the Silbermann pianofortes at the home of Frederick the Great, playing the partitas and thinking "now I know what instrument I wrote these for."

These were recommended by a trusted friend who heard them on the radio and guessed at the name of the artist. The first hearing was incredible. Like hearing the partitas for the first time all over again. Repeated listening has not dulled the thrill. Thank you Mr. Anderszewski.

I love it !.......2003-01-26

I got this CD several days ago and haven`t stop playing it since then! Marvellous! I`ve always loved Bach`s partitas and I`m so happy to have Anderszevski`s interpretation on record. Expressive,nuanced,youthful,crystal clear...Simply magic! My most favourite piece from the disc is the Courante from Partita ¹6 ...

Bach: 6 Partitas; Goldberg Variations; French Overture; Italian Concerto

Average customer rating:

A fine collection...

Bach: 6 Partitas; Goldberg Variations; French Overture; Italian Concerto

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Complete Harpsichord Concertos
Scarlatti: Sonatas for Harpsichord

ASIN: B0000942LL
Release Date: 2003-07-01

Customer Reviews:

A fine collection..........2007-06-03

This is a fine collection, but note that the 6 Partitas are Pinnock's original 1985 recording, and not his recent 1999 recording, Bach: Six Partitas, BWV 825-830 (Edition Bachakademie Vol 115) /Pinnock (harpsichord).

However this collection is excellent value simply for Pinnock's lively 1980 recording of the Goldberg Variations, and one can regard the 1979 French Overture, 1984 Italian Concerto, and 1985 Partitas recordings as useful bonuses.

Average customer rating:

Bach: 6 Partitas, BWV 825-830

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000E57L
Release Date: 1993-12-14

Bach: Six Partitas, BWV 825-830 (Edition Bachakademie Vol 115) /Pinnock (harpsichord)

Average customer rating:

A "must buy" recording
For those who don't like harpsichords -- check it out!
Tremendous performance of the Partitas - Go for it, folks!!

Bach: Six Partitas, BWV 825-830 (Edition Bachakademie Vol 115) /Pinnock (harpsichord)

Manufacturer: Hanssler Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Bach: Complete Sonatas for Violin and Obbligato Harpsichord / Pinnock, Podger
Bach: Goldberg Variationen
The Art of Fugue BWV1080
Partitas Nos 1 3 & 6
Haydn: Piano Concertos

ASIN: B00004TKFM
Release Date: 2000-06-27

Tracks:

Parita 1 B - Dur B Flat Major, BWV 825: Praeludium
Parita 1 B - Dur B Flat Major, BWV 825: Allemande
Parita 1 B - Dur B Flat Major, BWV 825: Corrente
Parita 1 B - Dur B Flat Major, BWV 825: Sarabande
Parita 1 B - Dur B Flat Major, BWV 825: Menuet I + II
Parita 1 B - Dur B Flat Major, BWV 825: Gigue
Partita 2 c-moll BWV 826: Sinfonia
Partita 2 c-moll BWV 826: Allemande
Partita 2 c-moll BWV 826: Courante
Partita 2 c-moll BWV 826: Sarabande
Partita 2 c-moll BWV 826: Rondeaux
Partita 2 c-moll BWV 826: Capriccio
Partita 6 e-Moll BWV 830: Toccata
Partita 6 e-Moll BWV 830: Allemande
Partita 6 e-Moll BWV 830: Corrente
Partita 6 e-Moll BWV 830: Air
Partita 6 e-Moll BWV 830: Sarabande
Partita 6 e-Moll BWV 830: Tempo di Gavotta
Partita 6 e-Moll BWV 830: Gigue

Tracks:

Partita 3 a-Moll BWV 827: Fantasia
Partita 3 a-Moll BWV 827: Allemande
Partita 3 a-Moll BWV 827: Corrente
Partita 3 a-Moll BWV 827: Sarabande
Partita 3 a-Moll BWV 827: Burlesca
Partita 3 a-Moll BWV 827: Scherzo
Partita 3 a-Moll BWV 827: Gigue
Partita 4 D-Dur BWV 828: Ouverture
Partita 4 D-Dur BWV 828: Allemande
Partita 4 D-Dur BWV 828: Courante
Partita 4 D-Dur BWV 828: Aria
Partita 4 D-Dur BWV 828: Sarabande
Partita 4 D-Dur BWV 828: Menuet
Partita 4 D-Dur BWV 828: Gigue
Partita 5 G-Dur BWV 829: Praeambulum
Partita 5 G-Dur BWV 829: Allemande
Partita 5 G-Dur BWV 829: Corrente
Partita 5 G-Dur BWV 829: Sarabande
Partita 5 G-Dur BWV 829: Tempo di Minuetta
Partita 5 G-Dur BWV 829: Passepied
Partita 5 G-Dur BWV 829: Gigue

Amazon.com

Bach wrote his keyboard partitas when his career as a church musician had gone wrong. They became the foundation for a massive composite work in which he explored every aspect of the 18th-century precursor to the piano. But how--and on what--should they be played today? The jury is out, and will stay out forever. That's why it's such a pleasure to compare approaches, and why there's no such thing as a "best buy." Go back to 1952, courtesy of the Music and Arts label, and listen to Ralph Kirkpatrick's graceful recordings: as the granddaddy of all modern Bach players, he's still got a lot to offer. Then check out Richard Goode's superb piano version to see how the big modern instrument can, in expert hands, still replicate the earlier instrument's understated charms. And now listen to Trevor Pinnock, rapidly emerging as our premier harpsichordist, whose new version of the partitas must be one of the most compelling ever made. Nobody gets such a luxurious range of color from the instrument or extracts such full-blooded drama. His tempi are on the fast side, and they whirl along when Bach hints that the brakes can be taken off. Here is real virtuosity in the noblest of causes. --Michael Church

Customer Reviews:

A "must buy" recording.......2007-03-17

J.S. Bach's six partitas for harpsichord rank as some of most powerful and sublime compositions for keyboard ever written. In my view they rank with Beethoven's late piano sonatas. Trevor Pinnock is the greatest harpsichordist that I know to be alive and active at present. This two-CD set is a masterful product of two masters - Bach and Pinnock. Thankfully Pinnock has retired from conducting and is devoting his energies to recording Bach's keyboard works. I look forward to more recordings from this wonderful musician.

For those who don't like harpsichords -- check it out!.......2001-12-06

If hearing a harpsichord only brings back memories of TV's Addams Family, or stirs up images -- as British conductor Sir Thomas Beecham once put it -- of "two skeletons copulating on a tin roof," then you owe it to yourself to hear this nicely priced 2-CD set of Bach's wonderful partitas.

Aside from the compositions themselves, which are among Bach's most stimulating keyboard works, and the incredible artistry of Trevor Pinnock, this is one of the warmest recordings of a harpsichord I've ever heard. It's rich, robust, and positively beautiful.

Pinnock recently retired from conducting to devote more time to playing the harpsichord. If this is only the beginning of many more Bach/Pinnock harpsichord recordings to come, music fans have a lot to look forward to.

Tremendous performance of the Partitas - Go for it, folks!!.......2000-11-30

Trevor Pinnock has never let me down, and he continues his streak with a superb performance of Bach's 6 Partitas. I own several other Pinnock CDs (Vivaldi's Four Seasons, various hpsd. works by Bach) and they are all winners and, to me, definitive. I'd say this is a must-have harpsichord version of the Partitas. Highest recommendation. Bach lives! Trevor forever!!