Bach: NotenBüchlein für Anna Magdalena Bach

You guessed right to what I have just listened. It (CD I-22) was very beautiful. Simple as it is supposed to be, Belder does a nice job (again) with a crisp, bright sound (like glass just about to be broken); and in the choral work, Johannette Zomer (soprano) sings with a nice, rich, unpretentious voice. Too many small pieces, but still nice.

I have to say I fall for those that I used to play, tracks: 2, 5, 15, 21 (the resonance on the bass), 25 (overly tentative), 26, 28 (though I like to play it sometimes twice this speed)

Editorial Note: the instrument list under Belder, says... silly mistake for such great work otherwise:
PIETER-JAN BELDER,
harpsichord/clavichord/o
rgan

Bach: Violin Sonatas

Bach violin sonatas are nice, perpetuum mobile. BWV 1017-1019 (CD I-21) are graceful but not demanding too much virtuosism from the soloist, in this case Luis Otavio Santos (baroque violin) and Pieter-Jan Belder (harpsichord).

Ligeti: The Ligeti Project II

Not everything is standard classical music (emphasize on classical). This is a well sought out version of Ligeti from 1923. Jonathan Nott directs the Berliner Philharmoniker. Great timbral combinations. The whole orchestra becomes one sound, shifting to another one. And yet, Concert Românesc has such lively East European (obviously) melody and rhythm, that is hard to believe it comes in the same Teldec Classics CD. I must remark Atmoshères for its suggestive nature.
I have to make a point here that my "grade" label is more on my own very personal relation to the work, than a (presumably very poor) aesthetic evaluation.
[edited 5-feb-08]

1. Lontano
2. Atmoshpères
3. Apparitions
4. San Francisco Polyphony
   
5. Concert Românesc.

Mozart: Violin Concerto #3 in G

[This post is copied in Oistrakh entry too, as it compares that disc too]

I have heard 2 versions of Violin Concerto No.3 in G, KV 216. One in Oistrakh's interpretation in Emi Classics, double forte, the other in Brilliant's CD2-16 with Verhey playing the violin.
I have to say that I prefer Brilliant's orchestration with Eduardo Marturet directing the Concertgebouw Chamber Orchestra. But Oistrakh's intention and force well surpasses Verhey's.
Nice piece. As has been my general experience so far, Brilliant's is worth listening to, but this time Oistrakh's shouldn't be missed.


In Violin Concerto No.1 B flat KV 207, Verhey's cadenza in the end is quite charming. Though concertos 1 and 2 are quite umpretentious, the natural fluency of Mozart's themes and scales are always welcome.

Oistrakh: Beethoven, Mozart, Brahms, Prokofiev 1/2

Wow! I could not imagine Beethoven as a care-free joyful being. The Triple Concerto Op.56 is that. Oistrakh's interpretation in Emi Classics, double forte is great.

Light, whole-hearted, warm, exquisite... a definite favorite.

Mozart: Violin Concerto

I have heard 2 versions of Violin Concerto No.3 in G, KV 216. One in Oistrakh's interpretation in Emi Classics, double forte, the other in Brilliant's CD2-16 with Verhey playing the violin.
I have to say that I prefer Brilliant's orchestration with Eduardo Marturet directing the Concertgebouw Chamber Orchestra. But Oistrakh's intention and force well surpasses Verhey's. This version features Oistrakh as director of the Philharmonia Orchestra.
Nice piece. As has been my general experience so far, Brilliant's is worth listening to, but this time Oistrakh's shouldn't be missed.


In Violin Concerto No.1 B flat KV 207, Verhey's cadenza in the end is quite charming. Though concertos 1 and 2 are quite umpretentious, the natural fluency of Mozart's themes and scales are always welcome.
The double forte 2CD edition seems to be out of print, but this is the most similar I found.

Mozart: oboe, bassoon, and winds

Regarding Brilliant's 2-14, how lovely.

I fear repeating myself to often (perhaps that is why I haven't really published this blog -officially- yet).

I decided to repeat the CD before moving on. The Bassoon Concerto KV191 is so lively and playful, then the Sinfonia Concertante KV 297b for Oboe, Clarinet, Horn, Bassoon & Orchestra is too. I have to say that the Oboe Concerto KV314 did not strike any note with me (pun intended ;) )

Especially the Bassoon Concerto is what I want to listen when I play a concerto for winds.

Bach: Violin Sonatas

This was the time for Violin Sonatas 1, 2, 3 (BWV 1014-1016). Pieter-Jan Belder plays beautifully the harpsichord, with a nice interpretation of Luis Otavio Santos playing the baroque violin. As with baroque strings, the instrument has a clearly different tuning, according to modern standards. Added to the usual screechy string sound of this kind of instruments, the atmosphere is well captured in this recording, Brilliant CD I-20.
The distinctive profound keyboard work of Bach is well additioned by the joyful violin, giving a light-hearted hue to the work, yet still inviting to reflection.

Bach: Musikalisches Opfer

How more Bach can you get? Deep, playful, sweet, persistent. Just lovely.

This comes in Brilliant's CD I-19, along with BWV1072-1078, and Verschiedene Canones über die ersten 8 Fundamental-Noten der Aria aus den Goldberg-Variationen. This last one is also very suggestive.

I have to say that the Sonata sopr'il Soggetto Reale is just stupendous... lively. The flute just makes wonders as it transverses up and down.

Candy Thompson, violin
Marieke Schneemann, flute
Floris Mijnders, cello
David Jansen, harpsichord (Cembalo)
Krijn Koetsveld, organ+conductor
Netherlands Bach Ensemble

Name	Key	Catalogue	Musicians	Observations
Musical Offering		BWV 1079		includes: Sonata sopr'il Soggetto Reale a Traversa, Violino e Continuo Thematis Regii, Elaborationes Canonicae
Canon a 8		BWV 1072
Canon a 4		BWV 1073
Canon a 4		BWV 1074		2 parts
Canon a 2		BWV 1075
Canon a 6		BWV 1076
Canon a 4		BWV 1077
Canon a 7		BWV 1078
Canon a 2		BWV deest
Verschiedene Canones über die ersten 8 Fundamental-Noten der Aria aus den Goldberg-Variationen				15 Tracks

Mozart / Bach :Flute Concerto / Viola da Gamba Sonatas

[This post relates to 3 different CDs. Later posts are 1 CD per post, as the date is reflected directly in the post's metadata. I did not split it at a later date, since it would appear on a different date. (I will probably review them on the 2nd tour)]

Well, this is to show that not all works from great composers are great. Despite the delightfully predictable first movement, Allegro maestoso, from the Flute Concerto No. 1 in G KV313, Vol.2-13 was a bit dull. It is definitely listenable, but certainly not deserving more comment. And neither does the Second Flute Concerto KV 313 in D. Yet, they both contain lively themes that are heart-lightening.

In the Bach corner, the Viola da Gamba Sonatas (CDI-18: BWV 1027, BWV 1028, BWV 894, BWV 1029 ) didn't raise any special emotions. Perhaps more academic insight might be useful.

[Feb 2 07] I have later on decided to only have a post per CD. In this one 2 were "reviewed", to save words. I will leave it as it is, as apparently they will not be central in any way.

Rekindling

Today was the opportunity for Mozart's Brilliant Classics Vol.2-12 to shine. And it did, with the beautiful KV299, Concerto for Flute, Harp & Orchestra. What a lively mixture of timbres. At the same time, how lively, playful and mature KV622, Clarinet Concerto, was. A very comforting CD.

Next came along Beethoven's Triple Concerto, in the EMI Classics Double Forte CD. What a joy to listen to Beethoven after a long history of Bach and Mozart. Beautifully interpreted by Oistrakh (violin), Oborin (piano) and Knushevitzky (cello).

Finally, to end the session, was Bach's Brilliant Classics Vol.1-17, Lute Works. So gentle, much fuller than Vol1-16. The Prelude BWV999 sounds so great in Lute.

And so it begins

The idea of collecting great versions of great musical masterpieces started a few months ago. I have invested some good money on it so far. I and a friend (esp. the friend, I must add) have been creating a list of great interpretations of great interpreters of great music from (sometimes) great musicians.
We pick the label, the recording, the work, and the musician. No need to pay more for the same recording; no need to pay less, either. Everything is set to build a great small sample of the most noteworthy work of great musicians. And those notes shall appear at BListener's Choice.