Classical music reviews

We had not heard of Mannheim Steamroller until we went to a Christmas concert where one of their pieces was played. My wife and I immediately bought their most recent CD, and later the 25 Year Celebration. Great stuff - wide variety and individuality.

Has it been 25 years? Yes, in the 25 years of Mannheim Steamroller, has sold more than 24 million albums - without the backing of a major label and significant radio air-play..."Fresh Aire" series pioneered the New Age and Adult Contemporary genres, and its Christmas albums comprise the best-selling series consistently topped the Billboard New Age, Catalog and Christmas charts - three are multi-platinum, one platinum and 10 others gold.

Always following his basic instincts, Chip never looked back only to the horizon, and this 2-CD-Set definitely has "happy trails" written all-over-it. Mannheim Steamroller has even managed to crack the Top Jazz Albums and Adult Contemporary charts - "Fresh Aire VI" was Top Jazz Album - where it resided for seven weeks.

A quarter of a cenury later, we're still at it...listening, collecting and anticipating each new Mannheim Steamroller release and what delights they bring...may they always charm the listeners old and new with their special magic!

Total Time: Disc One 45:45 on 12 Tracks & Disc Two 43:34 on 13 Tracks...American Gramaphone AG25-2...(1999)

it is totatally cool it was my first mannheim cd and I got hooked!

What can I say that hasn't already been said by others before me?
After the Rain is quite possibly THE finest piano album of the modern era. The person before me who mentioned the quiet after the rainstorm - that's it, right there. Early some Sunday morning, just after sunrise, right before the world around you starts coming back to life, go sit out on the porch or balcony or patio, load this album into your iPod, slip on your headphones, lean back and prop up your feet. Close your eyes and sip your morning coffee and listen to Michael Jones' After the Rain, and be taken away to someplace magical. Imagine yourself in the forest pictured on the cover, listening to birds chirping, the wind in the trees....
Michael Jones has created magic with this album. The piano is powerful, moving, but not intrusive or overpowering. The flute and cello simply blend in perfectly with the piano without getting lost themselves, making for a beautiful piece. Listen to the album in its entirety - best in one sitting. Take time out of the day and just savor this recording - its THAT good.

You know that first spring rain, after winter's gone, and the sky just opens? Everything's verdant and beautiful in the soft morning light, and then the rain comes, gently pelting the earth to ready it for spring. And then, right after the rain stops, there's this silence, like nothing else you ever here. I call it, quite simply, the silence after the rainstorm. But it's more than that--there's an unexplainable spirit there.

`After the Rain' catches that spirit and holds it. Simply by pushing the play button, you are transported to a beautiful place-the silence right after that first spring rain, which is really a beautiful thing, especially after the winter's been. I love the winter, the kaamos, the moonshine, the light the snow gives off, but let me say it's a bit of a relief to see the spring come again.

What beautiful piano music this is. It just gets into your heart and stays. The individual notes, like raindrops, blend together to become a bit of a rainstorm that just captures your soul.

Written at the time when Michael Jones was at his peak, this is an outstanding album. Beautiful melodies make this a glorious listening experience from beginning to end. Particularly beautiful are the album's opening two tracks. Jones seems to play with such a delicate touch that makes it seem deceptively easy. I could swear I could hear rain in the opening bars of "After the Rain".
A pleasure to listen to, this album is surpassed only by his prior album "Amber", which is out of print.
Fans of quality, highly original piano music will surely not be disappointed. Narada are moving well away from this type of music, so buy it whilst it's still available!
Highly recommended.

The Ahn sisters have a lot of talent and that talen is shown in this CD. My personal favorite is their rendition of "The Heart Asks Pleasure First (from The Piano)". It is just beautiful!!

For me, the true test of music is how it makes me feel while I listen to it. When I listen to this CD, it makes me feel alive!!! It makes me hunger to listen to other CDs that the Ahn Trio have made. I'll be picking those up soon.

These sisters cook with classical ingredients and have found in Kenji Bunch a composer who understands their dynamic and presents them with material that encourages them to expand their considerable talents. There is an attitude here that came off as a bit unbridled on the first CD, TRIOS, and may have set them against the mainstream of classical interpreters. That's a very good thing indeed, for having broken that stranglehold on how things should be played, they have managed to add a bit of steam to the chamber room. Sure it has to do with fashion and sensuality, but it did back in the day, when Wolfgang, Ludwig and Robert and Clara were heating things up. It all got too mannered afterwards, so when artists like the Ahns, or Kennedy, or any other adventurous soul upends the conventions, it is easy to jump on the surface differences as a way of avoiding dealing with the substantive issues at hand.
To my ears, they provoke the listener in what seemed like too comfortable assumptions about Piazzola, infused interest and intrigue into Bernstein where little besides Broadway and Americana star excess existed before, and have taken a Pat Metheny/David Bowie piece and brought classical drama to a terrific composition. Both writers should be duly flattered and impressed by the interpretation. And as I mentioned, with Bunch, they have a writer best suited to their own dynamic.
I am sure it helps that a set of twins are playing with their sister. There is a telepathy here that indicates they know when they are going to leap off the conventional cliff, and so the others respond by catching them in mid air. This disc makes for seductive and exciting listening. Listening to the Bosendorfer ring off the sensuality of the cello and the passion of the violin and that unbridled element is a source of wonder and enchantment.

I do hope the cover of this CD doesn't scare away "serious" classical lovers! This is definitely classical. It's a collection of shorter classics, but that sure doesn't mean it's aimed for those with short attention spans like one reviewer suggests. This music is, to quote, "charged and alive"! A lot of "today people" who are leery about classical music are likely to find themselves wound up in music especially composed for the Ahn trio by such composers as Henji Bunch and Eric Emazan. Diverse composers such as Argentine tango composer Astor Piazzolla and Leonard Bernstein are included, and most diverse of all, perhaps, is David Bowie.

These gals touch all the basses and show that there is indeed life in classical music.

This includes a sampler of arias taken directly from the recordings of operas, as opposed to the arias sung solo with backing orchestra which is the case in some of her other CDs. I like it better when I hear her in the context of the other singers and the narrative of the story.

So if you don't own any Sumi Jo CDs yet, you might want to check this one out first.

What more could I say about her voice? Though certainly no soprano expert, and not really a fan of opera, I can say that her voice is one of the most beautiful that I've ever heard. Arvo Part is quoted as saying that "the voice is the most perfect of instruments" and in that cases Sumi Jo may have in her posession one of the most perfect vocal instruments.

Another of her CDs that I enjoy very much, and which is not opera arias, is "Prayers." For those like me who do not appreciate as much the opera arias with their trills, this might be another title to check out.

Her voice is incredibly beautiful... I've never heard such effortless high notes from a soprano leggiero.. Brilliant is not enough to describe this gem of a voice! It's a gift from God! Buy this and be enchanted by the goddess of beautiful singing!

I can think of no better description of Sumi Jo's incredible voice - especially as displayed on this CD - than a quote from Ann Patchett's "Bel Canto: A Novel":

Never had he thought, never once, that such a woman existed, one who stood so close to God that God's own voice poured from her. How far she must have gone inside herself to call up that voice. It was as if the voice came from the center part of the earth and by the sheer effort and diligence of her will she had pulled it up through the dirt and rock and through the floorboards of the house, up into her feet, where it pulled through her, reaching, lifting, warmed by her, and then out of the white lily of her throat and straight to God in heaven.

This is most assuredly a "must-have" CD, and one I treasure. There's not a bad track or false note...as close to Heaven as we'll be this side of Heaven itself.

If you're not familiar with the theremin you'll probably recognize it as one of the key special effects instruments in early sci-fi movies. The theremin is so much more than this, especially in the hands of Ms. Rockmore.

Accompanied by the piano, Ms. Rockmore reaches new heights with the first electronic instrument invented. Absolutely amazing.

A remarkable disc featuring the eerie and hypnotizing oscillations of the world's first electronic instrument. Stunning!

This recording is the definitive standard by which all other theremin recordings will be judged.
To put it succinctly, it is marvelous!
Howard Mossman
Swarthmore, Pa.

When I first saw this recordings in a music store I never realized what was waiting for me inside the jewel case. Two or three years had to go before I got one. Since then this is one of my favourites. Nikolayeva was a master in all the meaning of the word and although I am a purist (would have liked a Harpsichord instead of a Piano) her interpretation is magnificent, moving and executed with the precision required for a Brain surgery. Do not miss this set, it is without a question one of the very best AoF ever recorded. You will only need to hear how this great Russian Master played the first three notes of the Ricercare a 3, BWV1079, to know what I mean.

This is far and out the greatest interpretation ever (on piano) of this monumental work - absolutely perfect, under any aspect. If you are a classical music fan it would be a crime to give it a miss.

I own about a dozen performances of The Art of Fugue (ranging from solo piano and organ over string quartet to Hermann Scherchen's orchestral arrangement). This is hands down my favorite (Scherchen's a distant second). Glenn Gould's might have been equally good if he had ever recorded the whole set for piano. (He recorded a partial set for organ, and piano recordings of a few individual fugues were released posthumously.)
While Bach never specified instruments for TAoF, the voice leading is too keyboard-friendly to be coincidental. It is not a "flashy" work but --- despite that --- extremely demanding on a keyboard player in that exceptional articulation skills are required to clearly bring out the four voices.
The purist may be annoyed at the fact that a piano (rather than a harpsichord) is used at all, and that (obviously) modern A=440 tuning is used. If you are one of these, you may wish to consider Davitt Moroney's harpsichord recording instead.
Unlike Moroney and organist Helmut Walcha, Ms. Nikolayeva does not attempt to "complete" the final unfinished fugue: her playing tapers off on the last notes in the manuscript.
The playing is not only crisp and technically perfect but beautiful at all times, and the recording very clean.
Bonuses are the four Duets (which work surprisingly well on the piano) and the two Ricercars from The Musical Offering. (The Ricercar a 3, incredibly, is actually rooted in an improvisation session by Bach on an early Silbermann fortepiano at the palace of Frederick II in Potsdam.)

One could describe this music as reaching the pinnacle of musical achievement. It's beautiful, it changes everything around you. My wife brought it into her classroom - all the children worked intently and quietly, all mesmerized by the harmonious counterpoint of Bach by Gould. I can never tire of it.

"The real inspiration motives of Bach are far away [from] this world and its circumstance [sic] and when Gould plays he seems to be a direct pupil from Bach ."
What contradiction here. The intellect slams up against a wall, the heart knows this can't be true, and the soul belches ever so softly to indicate its displeasure. My notion of Bach's inspiration comes more directly from this world than any other. What a family he raised and loved, what an occupation free from the dread of slaughter or incessant deception, what fountain of natural talent and what synchronistic combination of socio-historical variables made his love of this world shine through his music? The answer is before us all in Gould's interpretations.
The real inspiration motives? Such stuff as dreams are made on get stuffed in this commentator's bag into desperate knots and crumples of unnecessary and vastly befuddled explication. Is English being used here as a second language, or is "this world" defined subjectively from the perspective of one disgruntled with his?
"[H]e seems to be a direct pupil from [sic] Bach." Need I present any more direct evidence of Bach's firm connection with this world than the influence his music had on Glenn Gould? Which world, this world? Temporal and generational flux do not in any way detract from the fixed dependence of Bach's inspirations on the richness of this world, this ever-changing world!
N.B. This was written in the spirit of direct honesty and pure reaction to having read Pardo's comment, while listening to English Suite #1 in A Major, Movement III. Courante I. It is intended solely to share my reaction to Pardo's comment and is not intended to downplay or cheapen my apparent victim. The disagreement is purely philosophical, but nonetheless passionate.

One of the multiple devices employed very often by Mr. Gould in his different performances was the exact use of the color tonal . So when you listen even the inner movements of every one of the Suites you are inmersed in another dimension level .
The third Suite is my favorite one . I confess it . In this piece Gould atacks the notes and surrounds them with softness , moderato cantabile and noblesse sound . He was really inspired with these performances and even these Suites are not so stylized as the French Suites , for instance , they are clearly an important way to get close to the fierce , advanced and out of time musical ideas expossed all the way .
Think for instance in the Prelude of the Second Suite or in the Sarabande of the Third . The melodies are pregnant of cosmical breath . Bach must never sound romantic , because this approach transforms the spirit of the work .
The real inspiration motives of Bach are far away this world and its circunstance and when Gould plays he seems to be a direct pupil from Bach . Gould never abuses of the forte piano , he plays slghly and never allows the hands produce a percusive sound . This ignored detail you feel in other keyboardists but hardly in GG .
Acquire this set as soon as you can .

The recording is decades old and its age really shows. Even still, I enjoy Rubinstein's interpretations of Chopin's nocturnes the most. To be fair, out of all the professional recordings out there I heard Rubinstein's first, so that makes me biased, but no matter how I try to enjoy the others they always disappoint me. Rubinstein's playing seems to flow the smoothest and has a gentle refinement that can't be duplicated. Go ahead and compare the samples here with those of even Arrau's nocturnes -- to my ears, Arrau is too rough and puts too much emphasis on the "beat" notes, though the quality of the Rubinstein recording could be masking any flaws. Nevertheless, I feel that Rubinstein had the ability here to play every single note exactly how he wanted to play it -- not too loud, soft, long, or short. His rubato doesn't follow a simple predictable pattern like those of many others, but instead is complex and nuanced, and it makes it all the more interesting to listen to. I can understand how someone familiar with hearing Chopin played more strictly to tempo (or even with more typical rubato) might find Rubinstein a little unorthodox, but if you try to enjoy it anyway, you may very well likely find yourself hooked by his playing, and going back to other recordings find them lacking in character. Rubinstein may not necessarily play Chopin's other works quite as well (I'm not as fond of his version of Ballade No 1), but to me his playing of the nocturnes is sublime. Minus one star only because of the sound quality.

Although most of people tend to consider, Chopin' s Nocturnes as tearful salon pieces, they perhaps retains, with major effervescence than any other genre composed by him, the essential principles that support the Romantic mood. The night conceived as a frame for the febrile imagination, that may originate the most beautiful dreams or on the contrary the most horrid nightmares.

"Chopin loved the night and its soft mysteries as much as did Robert Louis Stevenson, and his nocturnes are true night pieces, some with agitated, remorseful countenance, others seen are whispering at dusk." ..."He ennobled the form originated by Field, giving it dramatic breadth, passion and even grandeur." These smart considerations belong to James Huneker (1860--1921) the famed author and music and drama critic.

Under this perspective any analysis around Chopin should be done according the specified genre you consider, due it would explain preconceived attitudes and superficial generalizations that frequently lead to trivial thoughts and originate distorted and deformed opinions around the egregious figure of the beloved Polish composer.

There have been three famed and renowned pianists that have shone with radiant splendor at the moment to play this set of Nocturnes. Of course that Rubinstein was one of them, (the others two are Samson Francois and Alfred Cortot), and the reason why they are above the most, resides in the fact they played every one of these works, with a special connotation and intimate atmosphere. As Huneker previously emphasized, every Nocturne has its particular blaze, texture, color, personality and expression.

So if you want to experiment a true experience listening this set of Nocturnes, don' t think it over and acquire it.

I do not understand how people can not just love this CD set. I found the sound quality as good as any of the best Deutche Grammophon recordings I own. Rubinstein's interpretation of Chopin is, to my ear and musical sensibilities, just perfect. He is very nuanced in his every note without subjecting you to an over stylized interpretation. His performance is consistent, clear and overall the music makes sense, from the beginning to the end of each piece, his stylistic interpretations "fit" with each other. The "story" of each nocturne flows easily and effortlessly. I feel that Rubinstein's interpretation of these pieces presents them with the greatest focus on the music and not the musician, that I have ever heard. If you are a Chopin fan, or if you are totally new to classical music, this CD set is the one for you. If you wanted to have a classical music collection of only one "album", this one would be it!

If you didn't know that this 2-CD Wagner miscellany was condcuted by Toscanini, you wouldn't find it extraordinary. Unlike Bruno Walter and Otto Klemperer, who lived to great old age and made some of their most sympathetic recordings after turning 75, the aged Toscanini has required special pleading. On the surface, the many recordings he made with the NBC Sym.--these Wagner pieces span 1949 to 1952--are often brusque, rigid, screechy in climaxes, dry to the point of unlistenability, and without expressive relaxation. This was great conducting?

Yes, devotees insisted, but you had to listen through the claustrophic sound and imagine the younger Toscanini thruogh the inflexible stick discipline. As the years went on, that became too hard to do, and despite his legendary status, Toscanini became a dead letter. The younger conductors he inspired--Szell, Leinsdorf, Solti--are dead, too, though in their prime they all made similar recordings in much beter sound than The Maestro.

This newly remastered "Immortal" series goes a long way to repairing the defective sound. It's now fuller and has audible air around the orchestra. You no longer feel you are suffocating in a closed box with a hundred trapped musicians. As for the interpretations, Wagner is a good place to start rehabilitating Toscanini for modern ears. Even in his late seventies and eighties, Toscanini remained an expansive Wagnerite. Several excerpts here, such as the Tristan Prelude and Love Death, the Parsifal Act I Prelude and Good Friday Music, and the Lohengrin Act I Prelude, are broad and contemplative. They radiate a serene inner beauty quite at odds with Toscanini's reputation for knife-edge tenseness.

But except for the Tristan Prelude--and then only the first half--I wouldn't call these readings great. Toscanini was famous for making orchestras play precisely, and he punished slackness with cruel invective and tantrums. Now, however, every major orchestra plays with more finesse and technique than the NBC Symphony. The crude trumpets bray painfully in the middle part of the Parsifal Prelude, the solo horn in Siegfried's Rhine Journey sounds as timid as a conservatory student, and we are reminded that Toscanini didn't have a totally first-rate ensemble at his command. On the other hand, the strings are radiant in the same Parsifal music, for the first time sounding sweet and inspirational.

To my ears there is only one great performance here, a rivetig Dawn and Rhine Journey from Gotterdammerung that blazes with intensity and conviction. Nothing else quite rises to that standard, and we are left to perform the difficult trick of imagining how much better this all would have been in Toscanini's heyday between the wars. I am not that imaginative, so I'd say this is an excellent portrait of Toscanini the elder, totally free of blemishes but not at a sublime level of musicianship.

Although Toscanini was usually associated closely with Italian opera, particularly the works of Verdi, he made it clear that he considered Richard Wagner the master when it came to musical drama. He had a long-standing appreciation of Wagner, which led him to conduct many of the composer's works during his long career. Furthermore, Toscanini was the first non-German conductor to be invited to conduct at the Bayreuth Festival, in 1930. The invitation came from no less than Siegfried Wagner, the composer's son.

Unfortunately, the only complete opera by Wagner that Toscanini ever recorded was "Meistersinger," during the Salzburg Festival in 1937. In Toscanini's many recordings with the NBC Symphony for RCA Victor, he recorded only excerpts from Wagner's operas. Nevertheless, the excerpts of Wagner's music are quite impressive.

One of the more memorable recordings was of the finale to Act I of "Walkure," recorded during a broacast concert in Carnegie Hall in February 1941 with soprano Helen Traubel and tenor Lauritz Melchior. Typically, the Maestro drove the orchestra relentlessly, maintaining intensity and excitement throughout. The same wonderful results can be heard in the 1952 recording of "The Ride of the Valkyries," a concert arrangement derived from "Walkure." This performance builds and builds as the valkyries ride.

Toscanini's recordings in the early 1950's tend to be rather "bright," since RCA was emphasizing the highs in "high fidelity," sometimes overshadowing the bass tones. Still, despite some tampering with the sound, such performances are absolutely amazing, given the fact that the Maestro was in his eighties at the time.

In all of the Wagner music he conducted, one is absolutely amazed at his fidelity to the composer's intentions. He may have come closer to what Wagner wanted than any other conductor.

An unfortunate incident came in Toscanini's final NBC broadcast concert, in Carnegie Hall on April 4, 1954, when his emotions over his impending retirement got the best of him. It has become legendary how he faltered during the "Venusburg" music of the Tannhauser overture (Paris version) and NBC temporarily replaced the broadcast with a recording of the Brahms first symphony. Adding to the misfortune of that concert is that it was one of the few times the NBC Symphony under Toscanini was recorded in stereo; despite excellent sound, the orchestra simply did not play its best that day. None of that happened in the 1952 studio recording of the same overture, also recorded in Carnegie Hall.

This compilation features the best of Toscanini's performances of Wagner and is definitely worth having. It is an opportunity to really appreciate the greatness of Wagner's music, even if his personal life was marred by his egotism and racism.

Toscanini was a mercurial conductor, a force of nature and the performances of Wagner are filled with deep commitment , when you play Wagner you must notice the existence of several gravity centers you must keep in mind. Otherwise you can play a lineal Wagner and that would be a mess. The score and the dramatic sequence are so important and even more perhaps that the music itself . They work out as if they were twins , So if you want to win in Wagner you have to maintain in your mind the dyoinisiac and apolinean features in the performance .
Beethoven seventh is filled with histamine and powerful and overwhelming rhytm presence .
It's not my favorite Seventh I must confess but it has character , violence and rapture , and with these elements it's very difficult for you to fail the challenge.
One of the major achievements of the master Toscanini.

In general, the Philips series "Set Your Life to Music" is one of the better, high-quality compilation series of classical music. This CD is a collection of Bach's Baroque-era music that is ideal for those unfamiliar to the often-intimidating world of classical music who mainly are looking for some pleasant and inspiring background music while learning a little about classical music. This Bach collection contains music that is rich in the soothing sounds of flute, harp, guitar and oboe along with a sampling of Bach's mild-mannered, songful orchestral music. Overall, the selections are all gentle and lyrical with a good sound quality. The concerto, oboe and orchestral works are some of Bach's finest compositions of sheer beauty and elegance and are performed by some of classical music's finest musicians. Some selections most everyone who has been ever been to a few weddings will recognize (Jesu, Joy of Man's Desire). And no piece is as haughtingly lovely as the flute sonata slow movement (Siciliano) on track 5 - a highlight of the disc.

While 'classical purists' may raise their brow because of the many flute/harp selections (citing that Bach never composed any music for the harp), the person buying this CD for inspiring and relaxing mood music should be be delighted just fine with these "transcriptions" from piano to harp. The harp has a special niche for creating the most serene of atmospheres which it does not fail to do here. The solo Suite in E-flat was originally composed for solo violin but sounds much more smooth and dreamy on the harp - a piece very well done. However, some pieces are so serene that you might fall asleep at the breakfast table - hence, the sub-title "A leisurely way to start your day." Actually, it could easily be titled, "Bach for Bedtime" as the selections are all pretty relaxed and on the quiet side. So, if the hyper-energy of Mozart symphonies is too much for your mornings or if the sharp surges of Beethoven's music unsettle you, then these calmer Bach selections should be a better way to ease into the day.

If you like the flavor of Baroque music, "Bach for Book Lovers" in the same series is a good choice and has more solo piano selections for the piano lover. "Bach for Bedtime" is also a wonderful (non-duplicating) collection of some of Bach's most serene music and is also recommended. Perhaps the most calming and sedating music in this Philip's series is "Baroque for Bathtime" which can easily put you to sleep - in a good way - with or without the bath. All are high quality with well-selected pieces from the treasures of classical music's most influential composer of the Baroque era - Johann Sebastian Bach.

This recording is a delightful morning brew of Bach's most beautiful and atmospheric instrumental music, even making use of an instrument that most music scholars forget he even wrote music for - the harp, as in the SLonatas for Flute, Harp and Cello, which on this recording, sound positively radiant coming from the likes of Sir Neville Marriner's Academy of St Martin In The Fields or the English Chamber Orchestra. The opening track is the ever popular Jesu, Joy of Man's Desiring, mostly a featured piece in Wedding Ceremonies. The Orchestral Suite No. 3 in D, which I believe is marked "Overture" is regal and elegant. The English Suite No. 3 in G Minor is a lovely piece, as is the intimately slow andane of the Brandenbur Concerto No. 2. The Concerto for Violin and Panpies in D is a fresh new rendition. All in all, this is a very intimate CD, full of Baroque charm and romance. It is a fine way to start your day.

You will love this CD! Like many of the CD's from this series, the music was carefully chosen for home listening. I just love playing this CD at home.

The "songs" on this CD and from the series were chosen from the vast and excellent Phillips classical music catalog. The sound, performances, and song selections are world-class.

A lot of great classical music is great for an evening at the concert hall but not very good for listening at home. The crescendos can be loud and the themes too intense. I would rather listen to a breathtaking Mozart piano sonata (solo piano) at home than a grand Mozart symphony (large orchestra) at home. The music on this CD was chosen for home listening, such as when reading a book.

This music appeals to everyone. Classic musicians may snub this music because it's not grand like a full-blown opera. They ignore the fact that the great composers, like Bach recognized different musical genres such as chamber music for at home or the kings court, and grand symphonies for an evening at the concert hall.

The music on this CD is EXCELLENT for listening at home. It's both brilliant and mellow. When I listen to this music I marvel at the brilliance of Bach. I am very grateful for this music and other CD's in this series.

A fantastic CD!