Bach – Alto CD

Georg Philipp Telemann ‘Multi-instrument’ Concertos

amuletts — Wed, 31 Jan 2024 23:47:49 +0000

“The sound, particularly on the Esterhazy recordings, is warm and full, and performances excellent …Telemann’s inexhaustible invention is well demonstrated, these collective concertos offer the greatest interest …Concerto for 3 Trumpets etc brings a sprightly fugue, oboes dominate a gravely expressive Largo, and ending with superb interplay – an irresistible masterpiece ! The Suite opens with a folksong ‘come up and see me sometime’ and strongly characterised dances follow with a feeling for colour … Highly stimulating set – the warmest of welcomes ! (Penguin Guide 3*)

Concerto in E for Flute, Oboe d’amore, Violin & Strings [16:55]

1. Andante 3:42 2. Allegro 5:45 3. Siciliano 3:16 4. Vivace 4:11

Concerto in G for 2 Violas and Strings [6:23]

5. Avec douceur 1:44 6. Gai 1:51 7. Largo 1:07 8. Vivement 1:40

Concerto in D for Trumpet, 2 Oboes & Strings [9:51]

9. Allegro 3:06 10. Adagio 0:53 11. Aria 2:48

12. Grave 0:36 13. Allegro 2:26

Raymond Meylan flute (1-4) Andre Lardot oboe d’amore (1-4)

Karl Stierhof & Peter Pecha violas (5-8)

I Solisti di Zagreb / Antonio Janigro (1-8)

Peter Masseurs trumpet / Amsterdam Bach Soloists (9-13)

Concerto in B flat for 2 Flutes, 2 Oboes & Strings [12:34]

14. Andante 4:02 15. Presto 2:51 16. Cantabile 3:32 17. Allegro 2:07

Concerto in D for 3 Trumpets, 2 Oboes, Timpani & Strings [11:27]

18. Intrada 2:11 19. Allegro 3:00 20. Largo 3:20 21. Vivace 2:55

SUITE ‘La Putain’ (The Prostitute) [20:00]

22. Overture 5:22 23. Masquerade 1:59 24. Louré 1:15 25.Minuet 1:48

26. Rondeau 1:33 27. Sarabande 2:09 28. Marche 1:09

29. Minuet & Trio 2:03 30. Bourrée 0:52 31. Hornpipe 1:45

The Esterhazy Orchestra / David Blum (14-31)

TOTAL TIME 77:54 Licensed from Vanguard Classics

Julian Bream plays J S Bach & Spanish Guitar Music

amuletts — Wed, 31 Jan 2024 23:46:18 +0000

“The Classical guitarist who as a performer and developer of repertory was a towering figure in the history of the instrument: Julian Bream’s love affair with the classical guitar began after he heard a recording of Andrés Segovia. His debut at the Wigmore Hall, London, in 1951 proclaimed the arrival of a seminal figure in the history of the instrument around the world” (John Duarte, John Amis / The Guardian)

Johann Sebastian Bach (1685-1750)

[1] Partita for Violin No.2 in D Minor, BWV 1004 – Chaconne 15:41

[2] Prelude in C Minor BWV 999 (played in D Minor) –1:42

Suite in E Minor, BWV 996: [3] Sarabande 4:15 [4] Bourrée 1:35

From: Partita for Lute in C Minor, BWV 997 (played in A Minor) –

[5] Prelude 2:51 [6] Fugue 6:37

Fernando Sor (1778-1839)

from Estudios [7] Estudio No.5 (Op.35,No.22) 2:03

[8] No.12 (Op.6,No.6) 4:33 [9] No.9 (Op.31,No.20) 1:11

[10] Minuetto from Sonata, Op.22 3:45

[11] Largo from Fantasia No.2, Op.7 4:31

[12] Rondo Allegretto, From Sonata, Op. 22 1:44

[13] Andante largo, Op.5, No.5 6:23

Joaquín Turina (1882-1949) Homenaje a Tárrega, Op.69

[14] Garrotín 2:27 [15] Soleares 2:08

[16] Fandanguillo, Op.36 5:20

[17] Andante from Sonata in D Minor Op.61 4:47

[18] Ráfaga, Op.53 2:47

Manuel de Falla (1876-1946)

[19] Homenaje ‘Le Tombeau de Claude Debussy’ 3:45

J.S.BACH Concertos for Harpsichord & Strings BWV 1052-8; Italian Concerto BWV 971

amuletts — Wed, 31 Jan 2024 23:46:18 +0000

“crisp, clear-sighted approach, all proceeds at a proper tempo and, where appropriate, with a spring in its heels. The slow movements are sensitively expressive…. this is basically how such works would have been heard in their time, you may feel this is the way it should be…. The strings are ‘authentic’ and respectful of every element ….I thoroughly enjoyed this and the superb recording” “Ivor Bolton is close enough to be heard in realistic balance, (his) clean and incisive fingers bring the music to life in these most enjoyable recordings.” (Gramophone)

CD1 [63:20]

Concerto No.1 in D minor, BWV 1052 [22:49]

[1] Allegro 7:42 [2] Adagio 6:57 [3] Allegro 8:09

Concerto No.4 in A major, BWV 1055 [14:19]

[4] Allegro 4:23 [5] Larghetto 5:44

[6] Allegro ma non tanto 4:11

Concerto No.5 in F minor, BWV 1056 [9:34]

[7] (Allegro) 3:07 [8] Largo 2:43 [9] Presto 3:42

Concerto.No.6 in F major, BWV 1057 [16:38]

[10] (Allegro) 7:10 [11] Andante 4:36 [12] Allegro assai 4:51

CD2 [64:00]

Concerto No.3 in D major, BWV 1054 [16:25]

[1] (Allegro) 7:44 [2] Adagio e piano sempre 5:54

[3] Allegro 2:46

Concerto No.2 in E major, BWV 1053 [20:17]

[4] (Allegro) 8:13 [5] Siciliano 5:17 [6] Allegro 6:46

Concerto No.7 in G minor, BWV 1058 [14:07]

[7] (Allegro) 3:56 [8] Andante 6:11 [9] Allegro assai 3:59

Italian Concerto F major (solo hpschd), BWV 971 [13:00]

played by David Ponsford

[10] Allegro 4:16 [11] Andante 4:09 [12] Presto 4:34

(1-9) Sponsored originally by Lufthansa and issued on IMP.

Harpsichord: copy of Ruckers-Taskin by Ferguson Hoey (Oxford 1982) tuned and

maintained by Mark Ransom Producer: Ben Turner

Engineer: Trygg Tryggvason; Editing & post-production: Finesplice Ltd

Venue: Henry Wood Hall, London, 22/23 December 1987

(10-12) Harpsichord by Andrew Garlick (1993) after Jean-Claude Goujon (c.1749)

Recording: Paul Arden-Taylor; Venue: Westonbirt School Chapel, 18 April 2000

Bach ..to Guitar / Legendary Guitarists

amuletts — Wed, 31 Jan 2024 23:46:18 +0000

“The great Segovia is the link here as the man who popularised classical guitar, showing also how well arrangements of Bach’s music are suited to it, and those stars who followed since. Segovia was so impressed by Bream the child prodigy at age 15, that he offered to take him on tour …‘A prince of the guitar has arrived’, claimed Segovia when he first heard young John Williams”.

Julian Bream

[1] Prelude, Fugue & Allegro. 13:22

Andrés Segovia

[2] Prelude (Cello Suite #1 BWV 1007) 2:16

[3] Loure (Cello Suite #3 BWV 1009) 3:40

[4] Siciliano (Violin Sonata #1 BWV 1001) 3:15

[5] Gavotte en Rondeau (Violin Partita #3 BWV 1006) 2:54

[6] Fugue (Violin Sonata #1 BWV 1001) 5:05

[7] Prelude for Lute (BWV 999) 1:15

[8] Bourrée (Lute Suite #1 BWV 996) 1:29

[9] Gavottes (Cello Suite #6 BWV 1012) 3:48

[10] Chaconne (Violin Partita #2 BWV 1004) 13:52

John Williams

Cello Suite #3 (BWV 1009 trans. Duarte) [21:55]

[11] Prelude 3:56 [12] Allemande 4:02 [13] Courante 3:24

[14] Sarabande 2:47 [15] Bourrées 4:09 [16] Gigue 3:35

J.S. BACH : BRANDENBURG CONCERTOS BWV 1046-51

amuletts — Wed, 31 Jan 2024 23:45:31 +0000

“Ledger has the advantage of fresh and detailed digital recording. He directs resilient, well-paced readings of all 6 concertos on modern instruments, lively, yet never over-forced. The slow movements in particular are most beautifully done, persuasively and without mannerism. Flutes rather than recorders are used in No.4.” (Penguin Guide 3 stars) “I suggested this as the best of the budget-price CD versions – a commendation it now retains. All the soloists (listed inside) play with accuracy and sensitivity, Garcia earning an honourable mention for the fleet-fingered dispatch in Concerto No.4. There are many good things in this set, not least the expressively played slow movements” (Gramophone)

CD1 [45:03]
Brandenburg Concerto No.1 in F major, BWV 1046

[1] (no tempo indication) 4:17
[2] Adagio 4:07
[3] Allegro 4:36
[4] Menuetto – Trio I – Polacca – Trio II 7:31

Brandenburg Concerto No.2 in F major, BWV 1047

[5] (no tempo indication) 5:14
[6] Andante 4:17
[7] Allegro assai 2:56

Brandenburg Concerto No.3 in G major, BWV 1048

[8] (no tempo indication) 6:08
[9] Adagio – Allegro 5:36

CD2 [56:27]
Brandenburg Concerto No.4 in G major, BWV 1049

[1] Allegro 7:27
[2] Andante 3:57
[3] Presto 5:17

Brandenburg Concerto No.5 in D major, BWV 1050

[4] Allegro 10:36
[5] Affetuoso 5:26
[6] Allegro 5:24

Brandenburg Concerto No.6 in B flat major, BWV 1051

[7] (no tempo indication) 6:41
[8] Adagio ma non tanto 5:18
[9] Allegro 6:00

C.P.E Bach Flute Concertos

amuletts — Wed, 31 Jan 2024 23:43:42 +0000

“Stinton finds plenty of interest in the music and interprets it with spirit and virtuosity. Her phrases are well thought-out and articulation clear and effective. The beautifully written and emotionally charged finale of the D minor Concerto comes over well … crisp, responsive orchestral playing, well-chosen tempos and clean, incisive ensemble. I thoroughly enjoyed this playing of some wonderfully inventive music…. helpful background notes” (Gramophone)

Concerto in D minor Wq 22/H 426
1. I . Allegro 7.32
2. II. Un poco Anadante 8.13
3. III. Allegro di molto 6.43

Concerto in A minor Wq 168/H 438

4. I . Allegro 6.03
5. II. Largo con sordini, mesto 8.54
6. III. Allegro assai 5.06
Concerto in G minor Wq 169/H 445
7. I . Allegro di molto 10.56
8. II. Largo 7.28
9. III. Presto 5.49

Bach: 48 Preludes & Fugues (Das Wohltempierte Klavier) BWV 846-93

amuletts — Wed, 31 Jan 2024 23:41:50 +0000

“There are some remarkable moments on these discs …remarkable as piano playing … Usually his tone is exquisitely cultivated, and Preludes such as the F minor, G minor and B flat minor are beautifully phrased; excellent, too, are quick, lithe ones like like the D major and D minor or the B flat major. Richter’s virtuosity is impressive in other Preludes such as the C minor and A minor. Of course, some Bach is very romantic and the Preludes in C sharp and E flat minor are very fine … I admire, also, the limpid sound of the C major and B minor Preludes; first and last in the first book, and Richter quickly responds to genre pieces like the D major Fugue, which is an ouverture a la francaise.” (Gramophone)

The Well-Tempered Clavier – Book I (BWV 846–869)
DISC ONE [59:00]

1 & 2 Prelude and Fugue No. 1 in C major BWV 846 1:58 & 2:30
3 & 4 Prelude and Fugue No. 2 in C minor BWV 847 1:18 & 1:39
5 & 6 Prelude and Fugue No. 3 in C sharp major BWV 848 1:14 & 2:03
7 & 8 Prelude and Fugue No. 4 in C sharp minor BWV 849 3:13 & 6:20
9 & 10 Prelude and Fugue No. 5 in D major BWV 850 1:08 & 1:51
11 & 12 Prelude and Fugue No. 6 in D minor BWV 851 1:26 & 2:31
13 & 14 Prelude and Fugue No. 7 in E flat major BWV 852 3:40 & 1:27
15 & 16 Prelude and Fugue No. 8 in E flat minor BWV 853 4:24 & 6:25
17 & 18 Prelude and Fugue No. 9 in E major BWV 854 1:04 & 1:05
19 & 20 Prelude and Fugue No. 10 in E minor BWV 855 1:53 & 1:06
21 & 22 Prelude and Fugue No. 11 in F major BWV 856 0:55 & 1:16
23 & 24 Prelude and Fugue No. 12 in F minor BWV 857 2:08 & 5:19

DISC TWO [63:44]

1 & 2 Prelude and Fugue No. 13 in F sharp major BWV 858 1:24 & 2:15
3 & 4 Prelude and Fugue No. 14 in F sharp minor BWV 859 0:51 & 4:18
5 & 6 Prelude and Fugue No. 15 in G major BWV 860 0:48 & 2:22
7 & 8 Prelude and Fugue No. 16 in G minor BWV 861 1:57 & 2:51
9 & 10 Prelude and Fugue No. 17 in A flat major BWV 862 1:10 & 2:55
11 & 12 Prelude and Fugue No. 18 in G sharp minor BWV 863 1:24 & 3:25
13 & 14 Prelude and Fugue No. 19 in A major BWV 864 1:11 & 2:37
15 & 16 Prelude and Fugue No. 20 in A minor BWV 865 0:55 & 4:08
17 & 18 Prelude and Fugue No. 21 in B flat major BWV 866 1:05 & 1:28
19 & 20 Prelude and Fugue No. 22 in B flat minor BWV 867 2:26 & 4:19
21 & 22 Prelude and Fugue No. 23 in B major BWV 868 0:51 & 2:33
23 & 24 Prelude and Fugue No. 24 in B minor BWV 869 7:51 & 7:33

DISC THREE [72:35]

1 & 2 Prelude and Fugue No. 1 in C major BWV 870 2:31 & 1:30
3 & 4 Prelude and Fugue No. 2 in C minor BWV 871 1:49 & 2:37
5 & 6 Prelude and Fugue No. 3 in C sharp major BWV 872 1:30 & 1:46
7 & 8 Prelude and Fugue No. 4 in C sharp minor BWV 873 3:46 & 1:56
9 & 10 Prelude and Fugue No. 5 in D major BWV 874 4:54 & 3:27
11 & 12 Prelude and Fugue No. 6 in D minor BWV 875 1:22 & 1:37
13 & 14 Prelude and Fugue No. 7 in E flat major BWV 876 2:19 & 2:17
15 & 16 Prelude and Fugue No. 8 in D sharp minor BWV 877 3:17 & 4:25
17 & 18 Prelude and Fugue No. 9 in E major BWV 878 4:12 & 4:28
19 & 20 Prelude and Fugue No. 10 in E minor BWV 879 3:01 & 2:40
21 & 22 Prelude and Fugue No. 11 in F major BWV 880 3:02 & 1:35
23 & 24 Prelude and Fugue No. 12 in F minor BWV 881 4:11 & 1:52
25 & 26 Prelude and Fugue No. 13 in F sharp major BWV 882 2:45 & 2:31

DISC FOUR [76:26]

1 & 2 Prelude and Fugue No. 14 in F sharp minor BWV 883 3:24 & 6:05
3 & 4 Prelude and Fugue No. 15 in G major BWV 884 2:12 & 1:09
5 & 6 Prelude and Fugue No. 16 in G minor BWV 885 2:51 & 3:28
7 & 8 Prelude and Fugue No. 17 in A flat major BWV 886 3:05 & 3:33
9 & 10 Prelude and Fugue No. 18 in G sharp minor BWV 887 3:43 & 6:43
11 & 12 Prelude and Fugue No. 19 in A major BWV 888 1:32 & 1:06
13 & 14 Prelude and Fugue No. 20 in A minor BWV 889 4:27 & 1:29
15 & 16 Prelude and Fugue No. 21 in B flat major BWV 890 5:48 & 3:49
17 & 18 Prelude and Fugue No. 22 in B flat minor BWV 891 2:52 & 7:39
19 & 20 Prelude and Fugue No. 23 in B major BWV 892 1:29 & 5:06
21 & 22 Prelude and Fugue No. 24 in B minor BWV 893 2:18 & 1:39

Haydn: Nelson Mass/ Croft: Burial Service / Bach: St John Passion

amuletts — Wed, 31 Jan 2024 23:39:57 +0000

(Haydn) “resonant King’s acoustic…the effect is admirably full-blooded and vivid” (Penguin Guide 3 stars) (Croft) “Another unforgettable experience is the singing of Croft’s Burial Service, recorded in procession with the voices gradually drawing nearer.” (Haydn) “a fine and vital performance under David Willcocks, with a first-rate quartet of soloists (Gramophone)

THE ‘NELSON’ MASS (Missa in augustiis / Mass in Troubled Times)

1. Kyrie 5:02
2. Gloria 10:43
3. Credo 9:51
4. Sanctus 2:22
5. Benedictus 5:57
6. Agnus Dei 6:14

Sylvia Stahlman, Helen Watts, Wilfred Brown, Tom Krause
with the London Symphony Orchestra

7. William Croft: The Burial Service (Recorded in procession) 14:38
8. Thomas Tallis (ed. Ken): Glory to Thee, My God, this Night 2:53
9. Orlando Gibbons: Drop, Drop Slow Tears 1:33

J S Bach: St. John Passion – Excerpts

10. Chorale: O Lord who dares smite Thee 2:05
11. Chorale: O Mighty King. Eternal is Thy Glory 2:03
12. Chorus: Rest calm…Lord Jesu, Thy dear Angel send 10:58

Glenn Gould and Andras Schiff play Bach

amuletts — Wed, 31 Jan 2024 23:38:50 +0000

“in terms of sheer keyboard wizadry, commands admiration…a remarkable performance” (Penguin Guide) “Gould’s pianistic skills have been universally and freely acknowledged, but his musical vision has elicited a range of critical response that has few parallels….. he was supremely skilful in showing the… patterns woven by its contrapuntal threads….As an exposition of the music’s mechanism this is a remarkable performance (Gramophone).

(of Schiff’s Bach) “I never recall hearing Bach better played on a piano. He has obviously profited from the return to the baroque style exemplified by modern harpsichordists, (he studied with George Malcolm) but bearing in mind that Bach on the piano must be in the nature of a modern arrangement he is sparing with baroque conventions.”(Gramophone).

(Schiff on Gould): “I was so impressed with his Bach because it was so different from anyone else’s. The clarity is remarkable, so are the rhythmic liveliness and the fantastic command of counterpoint”

J.S. BACH: GOLDBERG VARIATIONS BWV 988 (Aria & 30 Variations) (Glenn Gould)

1. Aria 1.55
2. Variation No.1 0.44
3. Variation No.2 0.37
4. Variation No.3 0.54
5. Variation No.4 0.29
6. Variation No.5 0.36
7. Variation No.6 0.34
8. Variation No.7 1.08
9. Variation No.8 0.45
10. Variation No.9 0.38
11. Variation No.10 0.42
12. Variation No.11 0.53
13. Variation No.12 0.55
14. Variation No.13 2.10
15. Variation No.14 0.58
16. Variation No.15 2.19
17. Variation No.16 1.18
18. Variation No.17 0.53
19. Variation No.18 0.46
20. Variation No.19 0.42
21. Variation No.20 0.47
22. Variation No.21 1.42
23. Variation No. 22 0.42
24. Variation No.23 0.54
25. Variation No.24 0.56
26. Variation No.25 6.27
27. Variation No.26 0.52
28. Variation No.27 0.49
29. Variation No.28 1.10
30. Variation No.29 1.00
31. Variation No.30 0.48
32. Aria da capo 2.10

András Schiff, piano (rec. 1978):
Overture in the French Manner, French Suite No. 5 in G,
BWV 831 (Partita in B Minor) BWV 816

33. Ouverture 6.28
34. Courante 1.53
35. Gavottes I and II 3.30
36. Passepieds I and II 2.13
37. Sarabande 3.13
38. Bourées I and II 2.23
39. Gigue 2.12
40. Echo 2.32
41. Allemande 2.58
42. Courante 1.31
43. Sarabande 4.30
44. Gavotte 1.11
45. Bourée 1.03
46. Loure 1.53
47. Gigue 3.22

Bach: The 6 Unaccompanied Cello Suites

amuletts — Wed, 31 Jan 2024 23:37:42 +0000

“This is serious playing which makes a real attempt to reach the heart of the music without the aid of artifice. … Cohen’s technique enables him to play these deeply expressive movements with admirable control; phrases and sustained notes sing out eloquently, often sounding an unusually deep note of pathos. … [Cohen’s is] a leisurely and expansive view, imbuing them with rhythmic suppleness and a poetic sense of improvisatory freedom. … Intonation is secure and [this] set meets with formidable competition, yet few of their adherents could fail to be impressed by playing of this order. Fine recorded sound.”
— Gramophone

A celebrated recording of Bach’s masterpieces for solo cello – the undisputed best bargain in this popular repertoire