Wilhelm Kempff: Great Pianists of the 20th Century

This CD from Philips Great Pianists of the 20th Century is the second of a 3 part view of Wilhelm Kempff, as chosen by Alfred Brendel, who admired Kempff.

I would have to agree that Michael Steinberg, whose comments appear in the accompanying booklet, that Kempff is particularly simple (I would add sober) in all these interpretations.

I, and now I am sure I am being shallow as my opinion contradicts Brendel's, did not like this CD. CD-2 I do not foresee me listening to, and CD-1 I am sure I can find more pleasurable (at least to my ear and experience) versions.

Regardless, this CD comes quite recommended elsewhere.

CD 1 Franz Schubert Piano Sonata in Am, D845 Moderato Andante, poco mosso Scherzo, Allegro vivace Rondo, Allegro vivace Beethoven Piano Sonata in Em, Op.90 Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck Nicht zu geschwind und sehr singbar vorgetragen Mozart Piano Concerto #23 in A, KV 488 Ferdinand Leitner/Bamberger Symphoniker Allegro Adagio Allegro assai

CD 2 Franz Liszt Deux Légendes Saint François d'Assise: la prédication aux oiseaux Saint François de Paule marchant sur les flots Années de pèlerinage Première année: Suisse excerpts (7, 2, 4) Deuxième année: Italie excerpts (2, 3, 4, 5, 6) JS Bach + Kempff Nun komm' der Heiden Heiland, BWV 659 Jesus bleibet meine Freude (from BWV 147) Wachet auf! ruft uns die Stimme (from BWV 140)

J.S. Bach: Die Sonaten für Viola Da Gamba und Cembalo

I have to concur with a couple of the reviews in the Amazon page, in that this CD irks me. Like a dozen mosquitoes swarming around an ear for an hour.
I can only say that I bought this CD as a recommendation based on the very talented performers, with the added plus of the sound of original instruments:

• Jordi Savall, viole de gambe
• Pellegrino Zanetti, Venise 1550 (sonata 1)
• (à sept cordes) Barak Norman, London 1697 (sonata 2,3)
• (altus) Andreas Doerffel, Klingenthal 1757 (sonata 4)
• Ton Koopman, Clavecin
• Christian Zell, Hamburg 1737 (property of Museo de la Música, Instituo de Cultura de Barcelona)

Name	Key	Catalogue	Musicians	Observations
Trio Sonata	C	BWV 529 / BC J5		based on the Sonate V for organ in C major
Sonata for viola da gamba & keyboard #1	G	BWV 1027
Sonata for viola da gamba & keyboard #2	D	BWV 1028
Sonata for viola da gamba & keyboard #3	Gb	BWV 1029

Bach: Cello Suites

This was perhaps the first CD that I heard when I started building my collection. One and a half years later, I listen to Casals again, and I definitely appreciate his interpretation. Before I thought it sounded to harsh, now, I think it is dramatic. The difference in choice of words clearly demonstrates that I have (finally) added to my criteria the intention of the performer.
Casals attack are fierce, conveying a shocking impression which fills the space. The recordings (1936, 1938, 1939) are not flawless (acoustic and precision-wise) yet neither criteria is why you would buy this 2 CD set for.
Casals definitely opened a new way of interpreting Bach, and it is completely portrayed in the Cello Suiten.

Name	Key	Catalogue	Musicians	Observations
CD 1
Suite #1	G	BWV 1007
Suite #2	Dm	BWV 1008
Suite #3	C	BWV 1009
CD 2
Suite #4	Eb	BWV 1010
Suite #5	Cm	BWV 1011
Suite #6	D	BWV 1012

Bach: Sonate e Partite per Violino Solo 2/2

Beautiful! At times it is hard to believe it is a violin solo playing.
Inspirational, energetic yet soothing.
Mark Lubotsky. Violin Guadagnini, 1728.

Name	Key	Catalogue	Musicians	Observations
Partita #2	Dm	BWV 1004
Sonate #3	C	BWV 1005
Partita #3	E	BWV 1006

Bach: Sonate e Partite per Violino Solo I

It has not been as easy as I thought to enjoy all "classical" music. In this case I actually mean baroque which is my favorite hands down. This is the 3rd time I listen to the Sonatas for violin from Bach. I have also listened to the Suites for Cello several times. I can now tolerate their listening. In fact, I can say it is ok.

Mark Lubotsky, violin ( J.B. Guadagnini 1728)

Name	Key	Catalogue	Musicians	Observations
Sonate No.1	Gm	BWV 1001
Partita No.1	Bm	BWV 1002
Sonate No.2	Am	BWV 1003

Bach: Double Concertos

Disc I-9 is one of Bach's best. It has those melodic counterpoint, complex theme development, concerto structure alternating slow and fast movements. He has played with the instrument selection, which make each unique, for this as well.

Name	Key	Catalogue	Musicians	Observations
Concerto for flute, violin, harpsichord, strings & bc	Am	BWV 1044
Concerto for oboe, violin, strings & bc	Dm	BWV 1060
Concerto for oboe d'amore, strings & bc	A	BWV 1055
Concerto for 2 violins, strings & bc	Dm	BWV 1043

Bach: Goldberg Variations (Leonhardt)

This is one of the most beautiful CD possible. Leonhardt's interpretations is precise, concise, yet emotional. Nothing is missing, nothing is too much. The sound is excellent. It is hard to think a person is playing something so virtuously.

Dinu Lipatti: Bach, Mozart, Scarlatti, Schubert

This CD has been praised so heavily, it was a must-have. And certainly it did not fail to the expectations created.

How sweet was the decrescendo in the sixth movement of the partita.

Beautiful "Jesus bleibet meine Freude" and the sonata for flute & harpsichord #2. Especially in the latter, how beautiful the transcription made by Kempff, that one can distinctly listen the flute in the piano.

Wow! Such a carefree playing of Mozart's Sonata #8 in Am.

The sound of the 1957 recording, that is Schubert's, is a bit too muted, and is the least giving, perhaps for being live. Yet, it is amazing how Lipatti plays each style so distinctively. And how tender and lovingly, yet seemingly carefree, he interprets each.

These recordings were done in 1950, 51 and 57, and they are so clear, a CD by EMI Classics.

Name	Key	Catalogue	Musicians	Observations
Partita #1	Bb	BWV 825	Bach	1950
Choralvorspiel		BWV 599	Bach	1951, "Nun komm', der Heiden Heiland" (arr. Busoni)
Chorale Prelude		BWV 639	Bach	1951, "Ich ruf zu dir, Herr Jesu Christ" (arr. Busoni)
Cantata		BWV 147	Bach	1951, "Jesu bleibet meine Freude" (arr. Hess)
Sonata for flute & harpsichord #2		BWV 1031	Bach	1951 (arr. Kempff)
Sonata	E	Kk 380	Domenico Scarlatti	1951
Sonata	Dm	Kk9	Domenico Scarlatti	1951, "Pastorale"
Sonata #8	Am	K310	Mozart	1951
Impromptu	Gb	D.899 N.3	Schubert	1957
Impromptu	Eb	D.899 N.2	Schubert	1957

Bach: Suites for Cello 1&2/2

Ah! What an amazing listening! Wispelwey plays so wonderfully: precise, emotive, subtle. I have heard (and posted before) on Casal's and Jaap ter Linden. Although both are recognized as good, I did not find either to appealing to my taste. I can also say that both have a similar free emotional style.

I look forward to listening more from Wispelwey.

Recording: January 1998
Baroque cello: Barak Norman, 1710
Violoncello piccolo (s.XVIII)

Bach: Concertos for 2 & 3 Harpsichords

Brilliant collection CD I-8.

Beautiful as it should be. Again flawless executions. (I have heard too many harpsichord works and feel a bit numb to comment further)

Musica Amphion, Pieter-Jan Belder

Name	Key	Catalogue	Musicians	Observations
Concerto for 2 harpsichords and strings	C	BWV 1061	Belder and Menno van Delft
Concerto for 2 harpsichords and strings	Cm	BWV 1062	Siebe Henstra and Belder
Concerto for 3 harpsichords and strings	Dm	BWV 1063	Belder, Henstra, and van Delft
Concerto for 3 harpsichords and strings	C	BWV 1064	Belder, van Delft, and Henstra

Bach: Harpsichord Concertos (2/2)

This is beautiful. Though the continuous listening of harpsichord works is a bit tiring, these works cannot be missed on any account.
The enjoyment I feel is so profound, that more words are irrelevant.

Brilliant CD1-7.
Neues Bachisches Collegium Musicum
Burkhard Glaetzner

Christine Schornsheim, harpsichord/Cembalo
Armin Thalheim, cembalo
Mechtild Stark, cembalo
Violetta Liebsch, cembalo
Paul Leenhouts, recorder/Blockflöte
Karel van Steenhoven, Blockflöte

Name	Key	Catalogue	Musicians	Observations
Harpsichord Concerto	Fm	BWV 1056
Concerto for harpsichord, 2 flutes, strings & b.c.	F	BWV 1057
Harpsichord Concerto	Gm	BWV 1058
Concerto for 2 harpsichords, strings & b.c.	Cm	BWV 1060
Concerto for 4 harpsichords, strings & b.c.	Am	BWV 1065

Bach: Cembalokonzerte

This CD I/6 from Brilliant is exquisite.

BWV 1052 is, for sure, one of my favorite pieces of all. Beautiful harmonic progression, conflict in the theme, tempo and pace, softness of instruments. It has it all, though the Adagio lacks in my opinion.

BWV 1053 has some nice passages, but did not impress me much.

BWV 1054 is a great piece, too. Definitely a piece to have on a (formerly, duh ;) deserted island.

Finally, BWV 1055 is the most rounded work of the set. It is soberly impressive. The initial theme of the 1st movement is very nice. The finale is also very strong.

1, 2, and 4 need to be in a collection.

Christine Schornsheim, Cembalo
Neues Bachisches Collegium Musicum, Burkhard Glaetzner

Name	Key	Catalogue	Musicians	Observations
Harpsichord concerto	Dm	BWV 1052		Amazing!
Harpsichord concerto	E	BWV 1053
Harpsichord concerto	D	BWV 1054		Beautiful
Harpsichord concerto	A	BWV 1055

Bach: Violinkonzerte

CD I-5 from Brilliant's take on Bach is beautiful too. Special are BWV 1041 and BWV 1042. The Concerto fro 3 violins is nice too, but too needlessly exalting. Concerti Dm and Gm did not tell me anything new (I might even skip them during next hearing :-o )

Emmy Verhey, violin
Camerata Antonio Luco
(all except concerto for 3 violins, as detailed below)

Name	Key	Catalogue	Musicians	Observations
Violin Concerto	Am	BWV 1041
Violin Concerto	E	BWV 1042
Violin Concerto	Dm	BWV 1052
Violin Concerto	Gm	BWV 1056
Concerto for 3 violins, strings & b.c.	D	BWV 1064	Rainer Kussmaul, Henk Rubingh, Thomas Hengelbrock: violins Amsterdam Bach Soloists

Bach: Orchestersuiten 3 & 4

The Ouverture of Orchestral Suite No.3 is a nice listening with a powerful Bach leading us into an important work, as I interpret it from the detail and richness of feelings, for him. In this case, when such a well-known piece is reviewed as is BWV 1068 Air and Gavotte I & II, we must place more attention on the particularities of the interpretation. The Air was so sweetly and precisely interpreted, with no abusive decor. Thoughtful sobriety. The Gavotte I & II are cheerfully and forcefully played. Well directed weaving of the different winds and strings sections.

Wir müssen durch viel Trübsal in das Reich Gottes eingehen is so strong. It conveys perfectly the hopeful struggle needed to arrive at God's Kingdom. I must say that I personally feel that this is one of Bach's most achieved pieces. The organ setting beautifully the self-absorbed atmosphere, with the trumpet's leading the harmonic melody, and the strings sustaining it all with small bursts of energy. The main theme reappearing just to set what is important and not let the listener astray.

Personally I did not enjoy particularly BWV1069 in Brilliant's CD1-4. I would rescue the emphatic Réjouissance, from the otherwise well-built Orchestral Suite 4.

La Stravaganza Köln, Andrew Manze
Christoph Lehmann, Organ

Name	Key	Catalogue	Musicians	Observations
Ouverture No.3	D	BWV 1068		3 trumpets, timpani, 2 oboes, strings and continuo
Sinfonia from Cantata BWV 146 Wir müssen durch viel Trübsal in das Reich Gottes eingehen
Ouverture No.4	D	BWV1069

Bach: Orchestersuiten 1&2

These are too very beautiful. Obviously we can mention the more obvious Badinerie of the OS 2, but I have to mention especially Track 8 the Sinfonia from Cantata 29. The play is beautiful, and the theme is deep, in the dimension of inter-instrument (timbral?) counterpoint.

La Stravaganza Köln,
Andrew Manze

Name	Key	Catalogue	Musicians	Observations
Ouverture No.1 for 2 oboes, bassoon, strings and continuo	C	BWV 1066
Sinfonia from Cantata BWV 29 'Wir danken dir, Gott, wir danken dir'			Christoph Lehmann, Organ	amazingly !!
Ouverture No. 2	Bm	BWV 1067	Masahiro Arita, flauta traverso (9-15)

Bach: Brandenburgische Konzerte 4,5,6

Breathtaking! Absolutely outstanding! (Knowing me, I think I have to be in specially receptive mood now)

Although I have heard them many many times, (and I have heard this precise recording before, Brilliant CDI-2) it still sounds so new. Such a compelling tempo, crystal clear distinction of instruments. For example in the Allegro of BWV 1049, I just noticed some virtuosissimi violin scales that I had not distinguished in any other recording.

Concerto no. 4 G BWV 1049
Rémy Baudet, violin
Pieter-Jan Belder, Saskia Coolen, recorder

Concerto no. 5 D BWV 1050
Wilbert Hazelzet, traverso
Rémy Baudet, violin
Pieter-Jan Belder, harpsichord

Concerto no. 6 B flat BWV 1051
Staas Swierstra, Sayuri Yamagata, viola
Mieneke van der Velden, Johannes Boer, viola da gamba
Lucia Swarts, cello

Pieter-Jan Belder, conducts Musica Amphion.

Bach: Brandenburgische Konzerte 1,2,3

Concerto no. 1 in F BWV 1046. Did not impress me much. I even doubted it was a Brandenburgische Konzert LOL.

Frank de Bruine, oboe
Rémy Baudet, violin piccolo
Teunis van der Zwart, Erwin Wieringa, horn

Concerto no. 2 in F BWV 1047
William Wroth, trumpet
Frank de Bruine, oboe
Pieter-Jan Belder, recorder
Rémy Baudet, violin

Concerto no. 3 in G BWV 1048

Now we talk. I again have to say I have fallen for small orchestras. The intimacy achieved with each instrument. Beautiful Brandenburg Concerto #3.

Rémy Baudet, Sayuri Yamagata, Irmgard Schaller, violin
Staas Swierstra, Marten Boeken, Mariëtte Holtrop, viola
Rainer Zipperling, Richte van der Meer, Albert Brüggen, cello

Bach: Das Wohltemperierte Clavier, Teil II

Now, this is nice. I guess it has to do more with my expectations... but it is hard to tell. The general comments before apply. I just have to say this is more listenable. (I hate my lack of expressive power >-( )

Announcement: revisit Mozart & Bach

Since when this blog was created I was already through many, though still not even 1/3 past the whole Bach & Mozart works as compiled in Brilliant, I have decided that I will relisten to those works to make their corresponding entry.

Therefore, this blog will have a jump in the order, but at some point I will catch up and we will still be a happy family. ;)

Mozart will restart now that I have finished Volume 2, and Bach will start after listening to the Well-tempered Clavier, which is the first work in the second volume.

Bach: Das Wohltemperierte Claveir, Teil I (2)

This one I thought was too forcefully played. To much banging on the keyboardt to my taste. I enjoyed, notwithstanding, Prelude 15, and Prelude 21. I acknowledge it can be due to my lack of sensitivity to complex solo works, which require more on the part of the listener.
But today, BListener didn't appreciate it much.
Soloist: Leon Berben
Instrument: Copy after Couchet, by Willem Kroesbergen (1996)