Classical music reviews

Within the first minute of listening to this CD, one is immediately captivated by Rachel Podger's gorgeous tone and intonation - a truly mellifluous sonority that ranks with the finest. Her subtle phrasings, gentle-but-sparing vibrato and deft bowing technique combine to produce a sound that is effortlessly cantabile, highly refreshing and never tiring to hear. She shapes her melody lines with great artistry and elegance - producing a sonorities of pure delight. Plus, her intonation sounds superbly "in tune" - which sometimes cannot be said about some violin music (especially that with a period violin). You hear all of these fine artistic qualities too in her Bach solo violin partitas/sonatas recordings (Channel) - complex pieces of music that are not only very difficult to play but even more difficult to make sound beautiful. Rachel Podger makes all this music of Bach sound not only easy but unusually beautiful - where you can listen to the entire CD without feeling it is too much.

Equally adept at this music is the ever-competent Baroque master, Mr. Trevor Pinnock, who not only provides interesting accompanyment to Podger but especially shines in the spotlit keyboard runs and solos. In these he maintains a spirited progression and crisp articulations throughout that keeps one in rapt attention. His cembalo solo in the #6 allegro (track 3) is downright sexy and can make one want to jump up and dance. His harpsichord sound is exceptionally warm and inviting (as harpsichords go) and not "clancky" as some can be. I surprisingly loved it. This is important for listening to an entire CD featuring that instrument! If you normally do not warm to the sound of the harpsichord, you may be pleasantly surprized that you like Pinnock's harpsichord here. Both musicians maintain an ideal balance between them with a delightfull interaction throughout the music that never seems labored or monotonous. Not an easy task for such music featuring only two instuments over two CD's.

Sometimes it is hard to define what exactly makes a fine performance but you know it when you hear it - and this is one of those. This duo's playing is completely in synch and makes the music come alive in a very natural and enjoyable way. Together, they bring out more of a carefree exuberance and lyrical depth in this music that others might not plumb. Also, the sound quality is sparkling and realistic - really superb. This CD was highly rated by Gramophone and Penguin Guide who give high marks for this duo's marvelous performance. The other performance that gets high marks from many guides is the lively version by Biondi & Allessandrini on Op. 111 done with Biondi's characteristic Italian expressivity and panache ... but it is a hard CD to find. In short, this beautiful recording - one of Podger's finest - is a gem not to be missed by the Baroque lover.

Pinnock and Podger play wonderfully together. I never tire of this CD. Many joyful moments and many lovely, expressive moments. How does Podger do it? I could listen to her playing all day.

Two CD collection of Bach's Sonatas for violin and harpsichord. I have always been a great fan of the harpsichord, and here Pinnock is outstanding in is chamber music capability.

The resonance of Podger's instrument is wonderful, so full and throaty and lyrical. I especially like the spirited Allegro to Sonata No. 6, and Pinnock's harpsichord solo on the Allegro of that opening Sonata.

The complexities of Bach's composition are here richly interpretated with good tempo and balance. The Cantabile is wonderfully charming.

A great Bach collection.

I am NOT a classical music expert, but this disc (if you can still get it) is a real find! We bought it several years ago when my daughter (a Suzuki violin student) started to learn the Bach Double (first movement only) for the first time, and this just happened to be what came up first on the search list. What an incredible stroke of luck! Since then, my whole family has learned a lot more about classical music, and violin concertos (concerti?) in particular, and this is our single favorite recording of the 20 or so violin concerto CDs we now have (rivaled only by Gil Shaham playing Sibelius, but that's a totally different animal, and maybe more of an acquired taste). The choice of these two Bach and two Vivaldi pieces (including one "double" from each) as a combination was very apt, I think, and the liner notes draw some very interesting connections between them. All of the playing by then-teenage Midori and Pinchas Zukerman sounds great, but the middle (slow, and such a contrast!) movement of the Bach Double is just breathtaking. When we have this on in the car (perhaps sandwiched between Neil Young and the Lovin' Spoonful), we'll talk at the same time, but not during that second movement! From our experience, this is a perfect CD to turn people on to classical violin music who might not have guessed that such a thing could happen.

Although Midori was just a teenager when she recorded these gorgeous pieces, she sounds amazingly elegant.
This is a must for all Midori fans. It's such a shame that this recording is so hard to come by nowadays becuase it's rather "ancient."

These are some of my favorite baroque period concerto, particularly 'Il Sospeto' with the rising pitches and Bach's double Concerto, with the delicate interplay between the soloists. Midori, as well as Zucjerman, has done an excellent job on this recording.

I've followed all of Ton Koopman's recordings of Bach's keyboard music with interest and now own most of them. I had fond memories of hearing this CD when it was released and my impressions of it then were not wrong. This is a coherent performance that is shapely, spritely and plangent by turns and never loses sight of the forward momentum. Koopman's extravagant ornamentation and tempi lend a improvisatory air to this recording that keeps the music fresh after repeated hearings. If you need a recording of the Goldberg Variations, look no further than this one.

This has to be considered the definitive recording of the "Goldberg Variations" on harpsichord. Koopman's sweeping gestures and often extravagant ornamentation complement his sometimes extreme tempi, resulting in a seamlessly constructed performance. This disc is an excellent introduction to period performance of Bach's keyboard works for those who are used to hearing them on piano, and will represent the epitome of stylistic integrity and musical brilliance for those familiar with the style.

The Goldberg Variations are J.S. Bach's longest and technically most demanding keyboard work. And perhaps his most beautiful. The transparent and lively performance by Mr. Koopman attests to the greatness of this work. Having listened to some other performances of the variations, both on piano and on harpsichord, I prefer this one. It may be the best available, and at a reasonable price.

This CD is wonderful. It is my favorite version of the Goldberg Variations and my favorite Feltsman recording. The live performance is captured beautifully.

A criticism that I've read about Vladimir Feltsman's Bach is that it contains too much Feltsman. But aren't his unique methods of improvisation in the repeats what Bach might have wanted, what he left available for the artist's interpretation? To repeat, with one's own musical ideas?

Vladimir Feltsman's work is always interesting and identifiable. There may be Goldbergs played with more speed elsewhere, but no one plays them with more feeling. Consider the where and when and what of this concert -- Bach in Moscow, finally. The Quodlibet *feels* proud. How I would have loved to have seen Feltsman's face during this performance!

Vladimir Feltsman's career has been hindered first by the soviet government who would not allow him to play in the west and then when he finaly did break through, music labels did their best to have him record russian romantic repertoire which he never found as close to his heart as the works of beethoven and bach. Thus, he only recently has begun a concert career under his own terms.
And this uncompromising musicianship is what comes first as in this awe-inspiring live recording of the bach goldberg variations. It is not only the virtuosity and imagination which are supreme here, but also the absolute identification which the music which allow him to perform at this level of inspiration. Some listeners will be intrigued by Feltsman's rearanging of some of the voices for the repeats, but here Feltsman is not only showing us the potential of the music but also following performance practices with which Bach was fully identified. The end result may well be one of the most amazing displays of absolute understanding and virtuosity, and also a rare glimpse of an artist at the top of his powers making music sound fresh. This event could have only been captured live - and this is hardly beleivable given the excellent sound and balance recorded here. As any other reviewer for this disc, how i wish i could have been there...

If I had three wishes, one would be used to have been at this concert. Music very rarely gets any better than this. You must get this recording.....

This is the best recording of the 3 Goldbergs that I've heard (Christopher Rousset on hrps, 1955 Glen Gould on piano). Typically my interest peaks at the aria and goes downhill from there but not with this one. Many variations I have skipped on other CDs, I now enjoy listening to. The pacing, the touch, the ornaments, and the freshness of playing makes this a great recording. As the Gramaphone quote states "What I like most of all about this playing is that Hantai clearly finds the music great to perform."

I agree with 1st reviewer that the Frenchy sounding harpsichord enhances the performance.

I must admit that the first time i heard this interpretation, after having heard Scott Ross, Blandine Verlet and Gustav Leonhardt playing these variations, i was a little bit dissapointed. I found it too perfect, elegant, brilliant, even a little bit superficial.

But with the time, i must admit this version of the goldberg variations is really the best one and not superficial at all. I was simply "corrupted" by other very convincing interpretations and not ready to open up myself to this classical, brilliant, varied and human reading of pierre hantai.

Definitely the best version, even if it should not be the only one you hear.

This really is harpsichord music. Pierre Hantai offers us this beautiful masterpiece, miles ahead of any one of the many recordings I have previously heard. This is like hearing the Goldberg variations for the very first time.

I second everything said about this by the reviews above! This is a warm recording sung very well, it'sd a real treat this one. Pitty Britten didn't do the St Matthew Passion. This is a super buy

I resisted buying and then listening to this version of one of my favorite pieces of choral music. Why? Firstly, I already own 2 other fine versions and I thought that a translation into English from German would distort what Bach had wanted. I was wrong: if anything, the English language helped me get "into" the text more...and understand, perhaps, a bit more of what Bach wanted us to feel while listening. I also do not usually like the sound of a boychoir. Bach had written the work for boychoir, but most recordings (and live performances) use an adult female choir. In this recording, conductor Benjamin Britten chose to use the Wandsworth School Boys' Choir and they are exemplary: their voices never get into that whiny trebel we are used to hearing and their enunciation of the English language is beyond reproach. All of the soloists employed are stars in their own right and many of them had worked together with and for Britten before this recording. Peter Pears, of course, was Britten's partner/muse/lover and he is superb as "Evangelist." If you have ever heard Pears sing, you know that his quality is one that cannot be compared with anyone else's. He is a singular artist. Britten has melded this entire, difficult, gorgeous work of Bach's into a very moving experience. The sound on this double CD set, recorded almost 30 years ago, is bright and full and rich. Do yourself a favor and buy this sublime music in this wonderful performance. HIGHLY RECOMMENDED!

Ideally Bach's wonderful St.John Passion should be heard in the original German in order to fully appreciate the ideal marriage of text and music which makes Bach such a paragon of excellence amongst composers.There are some excellent versions available,and if I could gently push you in the direction of say Gardiner or Suzuki,then I would be satisfied that I've accomplished my good deed for the day.

However,sometimes it's nice to skip the language barrier and indulge yourself in a direct channel of communication via your own mother tongue.To that end,this 1971 performance under the sure-footed guidance of the esteemed composer Benjamin Britten is the best possible way to approach the marvels of the St.John without wrestling with translations as you go.

The recording is for the most part excellent,and is ideally full-bodied and intimate.There are a few thumps and bumps in the long opening chorale,"Sire,Lord and Master",but I don't feel this is too much of a distraction because of the panoply of beauty that awaits afterwards.

The all-important linking role of the Evangelist is given to Peter Pears,and no more sensitive interpreter of that crucial role will you find on record,I feel.He really does convey every emotional nuance of his recitatives quite brilliantly,and if you want a good example of his superb word-painting,just listen to the way he wrings all the heart-breaking tragedy of Peter's denial of Jesus out of just two words,"...wept bitterly",in No.18.Quite marvellous!

The choral element is given to the amazingly assured Wandsworth School Boy's choir under the direction of Russell Burgess,and it's hard to believe that they are (or were rather)just children.Many adult choirs would be hard-pressed to match their incredibly sensitive awareness of the emotion implicit in their chorales.Whatever these boys behaviour was like before or after this performance they were surely Angels on that day of the recording.From the lovely,"O generous love",No.7,to the famous and utterly sublime "Farewell,O weary broken body", their combined performance is a feast for the ears and balm for the heart.

The soloists I cannot praise highly enough.Perfectly matched as a quartet,and individually they are absolutely astonishing in their virtuosity.Perhaps the biggest bouquet should go to the soprano Heather Harper who is quite outstanding in,"I'll follow thee also", and "With torrents of weeping...".Quite honestly it's worth buying the disc for her performance of these two arias alone!

Yet who would miss hearing the lovely contralto Alfreda Hodgson in her beautiful rendition of "To release me from this prison".Extraordinarily moving,and another gem amongst all the other treasures on this disc.

The tenor Robert Tear needs no qualification from this humble reviewer.Everything he has done in his long career has been executed with consummate mastery of his craft,and his work on this particular recording is no exception.He is quite wonderful in conveying the bitter agony of the aftermath of Peter's denial in his aria,"Ah! take flight",and we REALLY "climb the grey hills in fearful desperation" with him,as we experience at first hand the desperate enormity of what the apostle has just done.

The Bass John Shirley-Quirk is a name known and loved by those who adore choral music,and he is the final member in this "dream-team" of soloists.In the St.John passion the bass arias are suffused with music of quite magical loveliness,and thank goodness they are in such a safe pair of hands here.One of the most heart-stoppingly gorgeous moments in the entire work is the introduction to,"Look yonder,O my soul".My respect for the English Chamber Orchestra is boundless after the way they so tenderly pave the way for J S-Q's vocal entry here.

To conclude then:you are going to have to make room for two St.John Passion's in your collection.First and foremost you must go to the German motherlode to experience this masterpiece as the composer originally intended.But for a performance that will really hit you where you live,and open a direct line into the heart and soul of a wonder upon the Earth you simply HAVE to buy this lovely,lovely record.

I join the previous reviewers in their glowing descriptions of this performance. The Art of Fugue is a complex work -- not the first piece by Bach one falls in love with. We don't really know what instrument this was written for, as Bach wrote out each part on a separate line. There have been arrangements for nearly every conceivable combination. Some excellent versions are Vladimir Feltsman on piano, Grigory Sokolov on piano, Berliner Saxophon Quartett, Pittsburgh Symphony Brass, Bernard Lagace on organ, Jordi Savall on small ensemble period instruments. Purists will sneer, but I even like the excerpts recorded over a span of years by Glenn Gould on Sony. Unfortunately, though I like the Goldberg Variations on harpsichord, I have yet to find a version of AOF on harpsichord that I like.

Back to the Amsterdam Loeki Stardust Quartet. Their version is distinguished by the fact that the sound of their recorders somewhat resembles that of an organ (naturally, both being wind through a column instruments) but much gentler. The different recorders have different timbre as well, making it easier to follow the line of each voice. Besides the sonic qualities, the interpretation is at the same time profound and yet dance like. These men are outstanding musicians.

Generally I don't recommend an exotic instrumentation of a work as the first version to buy. But in this case anyone would do well to make this recording their first, or second, or tenth version of The Art of Fugue.

The Loeki Stardust Quartet play a variety of recorders from sopranino to sub-contrabass producing heavenly harmony. They offer a wonderful take on truly great but often difficult or unapproachable music. The recording is excellent. So good is it that the close miking may have you reaching for your distortion metre - don't panic: it's just the sound of spittle and air in the mouthpiece of some of the bass instruments.

A delightlful disc!

This recording is really unbelievable. The Amsterdam Loeki Stardust Quartet really confirms it status of superb ensemble. Using a wide range of recorders they spin fugues as threads on a loom, greatly voiced. Especially the sound of the lower recorders amazed me (subcontrabass). Not just 'variations on a theme'!!!

Despite all the praise young Menuhin gets on these recordings, I will save my praise for someone else's greater recordings...George Enescu.

These renditions are cold, dry and mechanical when comparing them to his teacher's versions.

Menuhin simply doesn't have a clue in the understanding of these pieces. He just plays the notes beautifully, but with no spirit or deep meaning behind them.

I'm sorry, but I do really admire Mehuhin..he was one of the most gifted of musicians we have ever had, but these recordings do not do these pieces justice they should. I would rather recommend Menuhin's later Stereo versions on EMI, as they are more profound and at that time Menuhin was fully mature as an artist.

...but still, Menuhin own teacher was and still is the Master of the Sonatas and Partitas. Listening to Enescu's recordings leave a permanent impact on your soul! Get them instead and be ready to go through a life altering experience!

Even for the likes of a child-prodigy, Bach's Sonatas and Partitas for solo violin are not a light undertaking. This particular edition had been recorded early in Menuhin's exhaustive career, but nonetheless, it deserves to be held up with many of the violinists later recordings.

The six pieces are quite unique when compared to those of other 19th century artists (notably Szeryng, Heifetz, and Milstein); they are played with a much more solemn or heavy interpretation, in addition to the heavy technical and musical influence of Menuhin's predecessors (specifically Kreisler and Enescu). The quality of the recording itself is rather poor due to the technological disadvantages of its time (recorded in the 1930's). However, this does not fully compromise Menuhin's highly romantic style, nor does it deny him the respect such an honest performance certainly deserves.

Although the heavy stress on romantic ideals early 19th century violin playing can at times take away from the balance between the clarity of Bach's writing, this recording is no doubt worth its price, and can be a valuable resource for both violin students, and enthusiasts of the history of violin playing.

It is worth repeating once again that this set of CDs contains the VERY FIRST complete, recorded performance of the monumental solo violin pieces by Johann Sebastian Bach. That fact alone would be enough to secure them a hallowed place in the history of recorded music. However, the performance of the 18-year-old Yehudi Menuhin are nothing short of astonishing, especially when one takes into account the age of these recordings. Menuhin is fearless and intrepid, seemingly aware of the significant place his rendering would take. He is aggressive and very heavy, with tempi tending to be slow compared to most contemporary recordings of the solos. While Menuhin's intonation suffers greatly in several areas (occasionally due to the recording process itself, no doubt), this rendering is monumental in its historical significance, emotive power, and sheer intrepidity. The violin and performer plunge ahead with gusto and chutzpah that still stuns listeners today. Menuhin is always confident (even when his intonation is less than perfect) and there is a feeling of great strength and, perhaps monumental struggle between performer, instrument, and music (especially in the Chaconne). This adds a great feeling of dramatic intensity to the recording, which is, perhaps, just the ticket with these the most incredible pieces in the solo string reportoire. Recording-wise, despite all our modern technology can offer, sound quality is still very poor. Bumps, clicks, and hisses can be heard throughout the two CDs, and the violin is recorded EXTREMELY close (you can see just HOW close in the liner notes). However, Menuhin is simply incredible, with a style all his own. While I can't say, as some have here, that this is how Bach would have heard these pieces (after all, that's the whole premise behind the so-called Historically Informed Performance trend, which Menuhin is obviously NOT a part of), I will say that Menuhin outbeats most of the modern offerings in sheer personality and drama. A must have for any Bach enthusiast!

The choral work and the aria soloists are superlative, though the evangelist has some lapses. The alto soloist sets the standard for "Von den stricken," as does the bass soloist with "Eilt nach Golgotha." The opening chorus, and all the chorales, are superb.

Back in the golden days of Napster I downloaded a few of these songs from someone in Italy who didn't speak English and it took me a long time to figure out who had produced it. (I also downloaded some Matthew's that I've yet to figure out.) I'm no expert but I went through a lot of Passions trying to find this one. Primarily they were too fast or too peppy. It's easy to understand the need to speed up 4-5 hours of music for the concert-goer, but that doesn't make it any less wrong. This one is dark, brooding, almost apocolyptic. The woman who sings "Dein Jesus ist tot" must be as much bird as human.
After hearing this you'll have to acknowledge that, despite all the comforts of our age, we are living in an era of deprivation to have Mel Gibson associated with the passion.

Something different from what normally we expect listening this music. Tempos, choruses are often pleasantly amazing. It's my 12th Johannes, what a love!

Helmuth Rilling lives up to his reputation as a centrist Bach stylist in this recording of the monumental "St. Matthew Passion". With his typical partners, the Stuttgart Bach Collegium and Gachinger Cantorei and soloists Ingeborg Danz, Matthias Goerne, Christiane Oelze, Thomas Quasthoff and Michael Schade, Rilling delivers a performance of the religious opera that contains elements of both the romantic legend and period performance practice style now the rage in Bach performance.

Even more than normal, Rilling remorselessly drills his choir to razor sharp singing, with perfect entries and closure at every chorus. The soloists -- notably Shade as the Evangelist and Goerne as Jesus -- sing with dramatic approach to the crucifixion story. The orchestral work is similarly well done with an occasional sour woodwind or blurry cello getting in the way of a singer.

Goerne is more traditional in his role while Schade is dramatic at every turn. Soloists Danz, Oelze and Quastoff are all magnificent in their respective arias, with the younger Quastoff turning in more committed work than in his recent CD of Bach's baritone cantatas on DG.

This is a good CD and powerful reading of the story about Christ's betrayal, conviction, aboslution, demise and resurrection. Compared to other performances of the music I've heard, it straddles the fence between the perdiod performers and traditional "modest maestros", as the American Record Guide overview called the older Bach specialists that subjugated their egos to the demands of the music.

I generally like the performance and found some discomfort in Rilling's period moments. That probably says more about me than Rilling, since I prefer the modest maestro approach to the music with greater humanity and less drama in the singing.

Regardless of direction or approach, there is no question that the singing in this version can stand up to most. Only the ultradramatic approach of Schade as Evangelist can be questioned, and nothing about his technique, vocalization or style is out of place. Goerne's famous chocolate bass-baritone is consistenly on display when Jesus speaks and he carries out the role as well as anyone. The soloists are all wonderful, to be frank, singing their hearts out to carry the message of this profound score.

Rilling's approach -- tradtional while informed by period practice -- is perhaps too much of a compromise for many listeners, especially those that want a less dramatic approach. But, with top notch recorded sound and the additional aria & choral item (No. 17), this makes a compelling entry in the "St. Matthew Passion" sweepstakes. It may not carry the day for traditionalists that prefer Klemperer's great old version, and it may not speak to the period performance crowd the way Gardiner's version does, but it should be considered by anoyone else that wants to hear this music performed as high drama.

There are a host of recordings of the St. Matthew Passion that simply fall short of the inherent drama of the work. The Harnancourt version is, to my mind, utterly devoid of this drama. Historically informed performance practice or not, it's simply drained of the expression. Tempi do not reflect the meaning of the words, and it loses all the life. This version comes closer to that dramatic reading that the piece demands. The singers are all fine voices, with Matthias Goerne standing out as Jesus, and the bass arias sung by Thomas Quasthoff being particularly nice as well. I've sampled a host of Matt�us Passions, and this is by far one of the better that are in print. If I had my choice, I'd take the Karl Richter, Munich Bach Orchestra with Peter Schreier, Fischer-Diskau, Edith Mathis, Matti Salminen, et. al, but alas, it has never been issued on CD.

Excellent soloists, overall first rate conducting and performance--lithe, unforced, and supple, it really breathes. Sound quality is as natural and full as I've ever heard on CD. This is a gentler and lighter performance--no bombast even with the choruses--yet one never feels anything's missing. Every moment sounds gorgeous. Of all the recordings of this work I've ever heard this conveys the emotions of the story best--one easily follows along as if it were a great novel or film. This feels exactly like the approach one should take to the Passion, in any medium. Surprising even to myself, I think this would be my first recommendation to anyone looking for a recording of this piece. The price makes this even more attractive. I sort of stumbled across a copy of this dirt cheap, bought it on a whim, and I'm thankful that I did.

[Since writing this the price has almost doubled. I hope my favorable review didn't cause that!]