Bach: Harpsichord Concertos, Vol.2

On this CD:

1. Concerto for 3 harpsichords & strings in C major (or for 3 violins in D major), BWV 1064
Composed by Johann Sebastian Bach
Performed by Richard Boothby, Peter Buckoke, Laurence Cummings, Catherine MacIntosh, Paul Nicholson, Purcell String Quartet

2. Harpsichord Concerto No. 7 in G minor, BWV 1058
Composed by Johann Sebastian Bach
Performed by Richard Boothby, Catherine MacIntosh, Purcell String Quartet, Jane Rogers

3. Harpsichord Concerto No. 2 in E major (or for oboe d'amore in F major) BWV 1053
Composed by Johann Sebastian Bach
Performed by Richard Boothby, Catherine MacIntosh, Jonathan Manson, Purcell String Quartet, Jane Rogers

4. Concerto for 4 harpsichords & strings in A minor, BWV 1065
Composed by Johann Sebastian Bach
Performed by Richard Boothby, Peter Buckoke, Laurence Cummings, Catherine MacIntosh, Paul Nicholson, Purcell String Quartet

Tracks:

Piano Concerto In A Major, BWV. 1055: Allegro moderato
Piano Concerto In A Major, BWV. 1055: Larghetto
Piano Concerto In A Major, BWV. 1055: Allegro ma mon tanto
Piano Concerto In F Minor, BWV. 1056: Allegro moderato
Piano Concerto In F Minor, BWV. 1056: Largo
Piano Concerto In F Minor, BWV. 1056: Presto
Piano Concerto In F Major, BWV. 1057: Allegro
Piano Concerto In F Major, BWV. 1057: Andante
Piano Concerto In F Major, BWV. 1057: Allegro assai
Piano Concerto In G Minor, BWV. 1058: Allegro moderato
Piano Concerto In G Minor, BWV. 1058: Andante
Piano Concerto In G Minor, BWV. 1058: Allegro assai

Customer Reviews:

Very good.......2001-05-01

Hae-won Chang has recorded two volumes of Bach's keyboard concerti. At the moment, Amazon carries only the second volume. But both are excellent recordings of all the seven surviving solo keyboard concerti on piano. Chang's articulation is crisp and expressively colorful, helping carry the often-suppressed counterpoint in these works above the orchestra--especially notable for concerti 1052 and 1054 on the first volume. Some of the performances here stand up to some of the other great recordings of these works on piano. The 1052, for instance, on volume one, is dramatic with unwaning impetus, rivaling even Gould's performance with Bernstein. Although the 1055 concerto is less successful, the famous 1056 concerto presented in volume two is dramatic in its first movement surging tempo, preparing for the calm and tastefully rendered second movement. And the third movement, so often, it seems, played with banging and clanging by many pianists, rings clearly here, mirroring the first movement's rush. The orchestra, of modern size, is up to the task as well; the 1058 concerto shows off the strings and continuo especially well in their brightness and range of force. One cannot go wrong with this set when looking for consistently fresh and clear performances on piano of Bach's solo keyboard concerti.

Great Performance!.......2000-10-27

The Naxos disc is really a great bargain, considering the wonderful and colourful performance of the soloist. Chang plays much better than Gavrilov, who seems to be unable to produce anything except staccato in Bach's concertos. Really nice!

Bargain Bach.......2000-10-15

Hae-won Chang plays these keyboard concertos beautifully and is sympathetically accompanied. This is playing of real distinction - direct and unforced: the CD would be a first recommendation even if three times the price.

Ditto for Volume Two-very good!.......1999-12-10

If you want Bach's concertos on modern piano, and you don't want to pay full price (or even if you do), look no further.

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A Kid's Review

Bach: Keyboard Concertos, Vol. 2
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006FIBI
Release Date: 2002-09-03

Customer Reviews:

A Kid's Review.......2005-07-06

Glenn Gould has a special way of expressing Bach. He plays Bach like nothing from the Baroque time period. Not everyone likes his way of expressing but his way will certainly amaze you.

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A Musical Marriage

Oboe Concertos, Vol. 2

Manufacturer: Dutton Labs UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00002MXTX
Release Date: 2000-02-08

Customer Reviews:

A Musical Marriage.......2003-11-04

The Barbirolli Society and Dutton Laboratories have reissued yet another brilliant session by the great British conductor Sir John Barbirolli. "Oboe Concertos Volume 2" finds JB with wife Evelyn Rothwell again making beautiful music together. The three Concerto performances by Haydn, Marcello and Corelli (from 1957, 1969 and 1968 respectively) are the highlight of the disc, which also features six chamber pieces. This is music that Barbirolli likely would not have played were it not for Evelyn, but it is a testament to their love that they found the perfect pieces to perform and share together. Like other releases in this series, the recordings have been digitally remastered from the original sources superbly by Michael J. Dutton. Barbirolli Society CDs are certainly a treat, but they don't stay around very long. Buy this JB title while you can!

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An entertaining fun disc, historically inaccurate
First rate!
Chang's Bach Piano Concertos are a joy!

Bach: Complete Piano Concertos, Vol. 1

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000013R8
Release Date: 1994-02-15

Tracks:

Piano Concerto in D Minor, BWV.1052: Allegro non troppo ed energico
Piano Concerto in D Minor, BWV.1052: Adagio
Piano Concerto in D Minor, BWV.1052: Allegro
Piano Concerto in E Major, BWV.1053: Allegro
Piano Concerto in E Major, BWV.1053: Siciliano
Piano Concerto in E Major, BWV.1053: Allegro
Piano Concerto in D Major, BWV.1054: Allegro
Piano Concerto in D Major, BWV.1054: Adagio e sempre piano
Piano Concerto in D Major, BWV.1054: Allegro

Customer Reviews:

An entertaining fun disc, historically inaccurate.......2005-06-25

If you would like to hear Bach's keyboard concertos as Bach actually intended them to be heard, you would do well to look elsewhere. Naxos later produced a series of recordings with the Cologne Chamber Orchestra directed by Helmut Müller-Brühl in which historical performance practice is ideally combined with modern instruments - these are available at the usual incredible Naxos price; if you prefer historical instruments, then I suggest looking at recordings by The English Concert/Trevor Pinnock (on Deutsche Grammophon) or by the ensemble Le Concert Francais/Pierre Hantai (on Auvidis-Astrée).

Nevertheless, if you prefer the modern piano to a harpsichord and are not too worried about questions of "authentic" style, you will probably enjoy this 1990 Naxos disc on which Korean pianist Hae-won Chang gives a classy performance quite brilliantly captured by the Slovakian engineers. The accompanying Camerata Cassovia, directed by Robert Stankovsky, seems to have had quite a field day, too, although the engineers have ensured that it is always the soloist in the foreground. A fun disc on which pure entertainment takes priority over any musicological considerations.

First rate!.......2000-03-03

Beautiful music beautifully done. The soloist's phrasing is crystal clear and calm. I have four other recording of these pieces on both harpsicord and piano, and this is my favorite by far.

Chang's Bach Piano Concertos are a joy!.......1999-12-10

What a fun CD! The performances are excellent, the sound is very good and the music is glorious. If you want the Bach keyboard concertos on a modern piano, here you go. Note that while everything is on modern instruments, tempos are quick and the playing is lively, thus providing the best in period performance practices.

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too routine for me
Reformed purist.
2006 Gramophone "Artist of the Year"
A new way to present a time honored treasure

Bach - The Keyboard Concertos Vol 2
Bach , Angela Hewitt , Richard Tognetti , and Australian Chamber Orchestra
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Bach: French Overture, Italian Concerto, etc

ASIN: B0009K9P7U
Release Date: 2005-06-13

Tracks:

Allegro
Larghetto
Allegro Ma Non Tanto
(First Movement)
Adagio E Piano Sempre
Allegro
(First Movement)
Siciliano
Allegro
Allegro
Adagio
Presto
(First Movement)
Andante
Allegro Assai

Album Details

Angela Hewitt Performed and Recorded with the Australian Chamber Orchestra in February 2005, a Perfect Collaboration Resulting in Two Volumes of Bach Keyboard Concertos.

Customer Reviews:

too routine for me.......2007-06-24

Angela Hewitt's two disc traversal of Bach keyboard concertos has received all kinds of critical acclaim, but to my ears this volume does not live up to its high reputation. Angela Hewitt has moved to the front of the pack of Bach players on modern keyboard - she plays very fluidly, & very respectfully. But her gentle, middle of the road approach, while pleasing, seems to lack genuine excitement. I won't say that her playing is bland, but it is certainly predictable. I have Hewitt's set of English Suites, which is more satisfying than the concertos; so I am not completely unsympathetic to her approach to Bach. Perhaps part of the fault here lies with the Australian Chamber Orchestra which sounds thin & uninspired? In any event, I bought the first volume of this set & returned it unopened after listening to the second volume.

How I wish Klara Wurtz would tackle this repertory....

Reformed purist. .......2006-02-15

When I first ran across these recordings, I dismissed them as another "romantic atrocity" commited against the music of Bach.
While some period purists, myself usually included, would cry foul at the inclusion of a modern grand piano in these concerti, I think it useful to remember that Bach was not ignorant of the pianoforte and its capabilities. In 1747, Bach was invited to the Court of Prussian Emperor Frederick the Great at Berlin where he was asked to test out the Silbermann pianofortes (the pianoforte was invented in 1709. Bach's prowess on the instrument so impressed the Emperor, that he asked Bach to improvise on a subject of his (the Emperor's) own invention, from which came the Musical Offering.
The modern piano is completely capable of overpowering a baroque chamber orchestra and to Hewitt's credit, she never exceeds the bounds of good taste and dignity by descending to the bombast that could potentially ruin this music and turn the soloist into the proverbial bull in a china shop. That is not to say that her interpretations are sterile and uninteresting; The very nature of the piano provides for a timbral and dynamic expressiveness unattainable on the harpsichord, and the soloist uses these effects to their best within the limits of the genre-conforming the piano to Bach and not Bach to the piano.
The 5th Brandenburg concerto, while obviously not 'authentic' is played with such grace and deference to the music and the other soloists that it becomes a joy to listen to. The flautist and violinist in the Brandenburg and triple concerti as well as the flautists in the 5th concerto, although playing modern instruments, are nonetheless gracious in their interpretation, once again conforming their instruments and technique to the music and not the other way around.
The Orchestra's performance is excellent. Though not perfoming on period instruments, they maintain the clear, precise timbre of a baroque orchestra. While the literal meaning of concerto may mean contest, the baroque concerto is less a contest and more of a cooperation of solo and orchestral forces than its romantic descendant which is almost a battle at times. The result is that neither soloist nor orchestra usurps the other's place in the music.

In the end, This performance, while not a period performance, is definitely not a romantic interpretation either and deserves to be heard if for no other reason than that it is a new take on these musical gems.

2006 Gramophone "Artist of the Year".......2005-07-21

Sometimes it is hard to decribe exactly what truly makes a great performance, but when many elements come together so splendidly as they do here, you immediately recognize it. These concertos are fresh and effervescent in every aspect - from Ms. Hewitt's delicate, poised articulations to the beautiful orchestral compliment from the ACO to the excellent Hyperion-engineered sound. Ms. Hewitt chose the Australian Chamber Orchestra after playing these works for many months with several orchestras around the world. Just hearing the first few bars of the first movement of the 6th concerto reveals how perfect Hewitt and the ACO are for each other and this music. The ACO's style and judgment are always in pefect compliment to Hewitt's playing - never overwhelming or underwhelming her gorgeous lines. If you prefer the more intimate dialog and effect of a smaller orchestra compared to the drama and power of a larger one, these performances should delight. There is a wonderful, chamber-like interaction and relaxed musicianship here that makes these performances rather irresistable and highly refreshing. Where the works in Volume 1 were more virtuostic and sprightly, those in Volume II here are a bit more intimate and pleasantly meandering.

Compared to other "reference" recordings, there is more of a carefree flow of tempo - and really charm - in the Hewitt/ACO performances which have a Spring-like freshness in their appeal. Hewitt's playing is both delicate but completely commanding at the same time and blends wonderfully with the feathery tones of the two flute soloists and Richard Tognetti's silky-smooth violin interludes. All use modern instruments, yet retain appropriate period mannerisms with sonorities that are truly beautiful, enhanced by superb Hyperion sound engineering. While Miss Hewitt could easily take over with her powerful Fazioli Concert Grand, she use finesse and nuance to create a more gentle interaction with the lithe ACO.

Having ten years of Bach recordings under her belt shows clearly in Hewitt's natural, at-one flow with the music - like she has penetrated the life within the music and just exudes it the most natural and intended manner like breathing. Her lines are sure and elegant and her ornamentations support the overall melody in the most delightful way that does not draw attention to the performer. Her bass 'flutters' are particularly appealing and inject nuances of artistry and excitement. This is music of top caliber and performances to be celebrated that have a timeless, ever-fresh quality that should wear well through the years. Such performances as this are one reason Miss Hewitt won the 2006 Gramophone "Artist of the Year" award. She is also Hyperion's top-selling artist.

I was impressed with the amount of extremely positive music industry reviews of these July '05 releases. Dependable music critic David Hurwitz of ClassicsToday gave both CD's glowing reviews and a perfect 10/10 for Artistry/Sound Quality. Indeed, even the non-SACD sound is absolutely brilliant and without fault (perfect balance, clarity of solists and depth of tonal textures). And with these concertos, Ms. Hewitt completes her decade-long Bach traversal with a grand crescendo and now moves on to new projects - which includes the third volume of Couperin's clavier pieces, works from Chabrier and three of Beethoven's piano sonatas including the Appassionata.

A last tidbit for Hewitt fans: Angela Hewitt is the first woman to record the whole of Bach's keyboard works - and doing it from memory as well, which is no easy task given the complexities of Bach's counterpuctal scores. In an interview Angela comments how many pianists fear performing Bach from memory as "getting off the rails" is easy to do with such inter-twining music - all of which make her Bach all the more impressive.

A new way to present a time honored treasure .......2005-07-18

This two set CDs of Bach's keyboard concerti surely brought Hewitt's discography to a new height. One relevant point is that Bach wrote these works for harpsichord, but as time and experience can tell, Bach survives through all transcriptions and applications of music instruments. This is a testimony that music is more important than form. I need to make this statement as most of listeners will agree with me that Bach rarely sounds so great as in this recording. Ms. Hewitt's playing is fluid and sensible, with reasonable pedal work added to bring sonority and legato at certain passages, but never overdone. Her passage works are well executed and clear, and her phrasings are subtle and convincing. In some parts, she made Bach extremely melodious. Australian Chamber supported the soloist with verse and a warm tone, with the concert master playing some counterparts commonly neglected in other performances. Another unique feature on this recording is that apart from the solo piano, there is a harpsichord playing continuo in the ensemble. The recording is well balanced and full of clarity. This set will bring fresh new delight and enjoyment for any Bach lovers.

Bach: The Keyboard Concertos, Vol. 2 [Hybrid SACD]

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Bach: The Keyboard Concertos, Vol. 2 [Hybrid SACD]

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009K9PHU
Release Date: 2005-08-09

David und Igor Oistrach Violin Concertos, Vol. 1

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David und Igor Oistrach Violin Concertos, Vol. 1

Manufacturer: Berlin Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000035PZ
Release Date: 1994-02-01

Tracks:

Con in d, BWV 1043: 1. Vivace
Con in d, BWV 1043: 2. Largo, Ma Non Troppo
Con in d, BWV 1043: 3. Allegro
Con in d, BWV 1052: 1. Allegro
Con in d, BWV 1052: 2. Adagio
Con in d, BWV 1052: 3. Allegro
Con Gross in a, Op.3 Nr.8: 1. Allegro
Con Gross in a, Op.3 Nr.8: 2. Larghetto E Spiritoso
Con Gross in a, Op.3 Nr.8: 3. Allegro
Con in E, BWV 1042: 1. Allegro
Con in E, BWV 1042: 2. Adagio
Con in E, BWV 1042: 3. Allegro Assai

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Elegantly Played Bach Harpsichord Concertos

Bach: Harpsichord Concertos, Vol. 2

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

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Carl Nielsen, Orchestral Music

ASIN: B000M2EBWE
Release Date: 2007-02-27

Customer Reviews:

Elegantly Played Bach Harpsichord Concertos.......2007-03-28

I was very pleased with Volume One Bach: Harpsichord Concertos, Vol. 1 in this series and now we have Volume Two. And it's just as elegantly and sensitively played as the first issue was. Lars Ulrik Mortensen is a fine harpsichordist and conductor. His long experience playing with renowned baroque groups certainly tells in this and the previous CD. Another thing I really like about this recording is that the sound of the harpsichord is not swallowed up in the body of the orchestral sound, as is so often the case, and yet the sound of the instrument does is not obviously amplified or recorded too closely. And the tonal quality of Mortensen's instrument is lovely -- none of that jangly sound one hears much to often in harpsichord recordings.

As for the works presented here we have four of Bach's concerti of which two are certainly among the most popular -- BWV 1056 in F Minor -- originally a violin concerto and with that absolutely gorgeous Largo movement which could almost be a soprano aria with its pure long melodic line and the gentle pizzicato string accompaniment -- and BWV 1057 -- better known in its version as the Fourth Brandenburg Concerto; here it is transposed down a full step and the Brandenburg's violin solo is here replaced by the harpsichord.

Concerto Copenhagen (or 'CoCo' as it is often called) is a group of young Danish baroque instrumentalists for whom Mortensen is the artistic director. They play elegantly and with real élan; this group does not play Bach in that too-familiar dead-baroque-composer style we hear too much of. This is living music played with brio.

Volume Two gets an enthusiastic recommendation.

Scott Morrison

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Sprightly Bach Harpsichord Concerti Well-Played and Recorded

Bach: Harpsichord Concertos, Vol. 1

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000C16SI
Release Date: 2003-10-21

Customer Reviews:

Sprightly Bach Harpsichord Concerti Well-Played and Recorded.......2003-10-30

I've heard many recordings of the Bach harpsichord concerti over the years and one of my complaints is that although it may be true to performance practice, most times you can't hear the harpsichord well enough. And that's one reason that I tend to prefer these concerti with piano or fortepiano. (It also doesn't hurt that I'm an old pianist still in love with the sound of my own instrument.) These performances, though, pass muster for me. This CD is labeled as 'Volume 1,' so presumably we can look for further recordings. This one contains the Concerto in D minor, BWV 1052; in D major, BWV 1054; and in E major, BWV 1053.

These recordings, I'm happy to say, have the harpsichord soloist aurally out front. Lars Ulrik Mortensen is both soloist and conductor and he does a bang-up job. Tempi are sprightly but not rushed. Articulations are crisp and phrasing is nicely molded. The recorded sound is exceptional. My only quibble is that for some strange reason towards the end of the first movement of the D Minor Concerto MOrtensen does some weird tempo tugging, slowing down to a crawl and then suddenly speeding up again. At first I thought there was a glitch in the CD, but on close listening it is obvious that this is what he intended because he does it again later. I don't see any indication for this in my own score of the concerto and I have no idea what he's doing here. Otherwise, though, and in the other movements, nothing similar ever happens again except for some slight slowing at cadences.

The excellent chamber orchestra (13 players) here is new to me. Formed in 1990,they call themselves 'Concerto Copenhagen', 'CoCo' for short. They are a group of young Danish musicians on period instruments. And they are good! Mortensen, who was once cembalist in the London Baroque, became their music director four years ago.

Certainly I would recommend these performances, even as an only recording. They are that good. As to the music itself, it proves that Bach, rather than the old fogey he is usually painted to be, was out front when it came to invention of the solo concerto form with these and the Fifth Brandenburg Concerto. But then Bach's my man, and can do no wrong.

TT=55:57