Musica Antiqua Koeln, Reinhard Goebel – J.S.Bach – Die Brandenburgische Konzerte, Orchestral Suites, Chamber Music [8CD] (1987) [FLAC]

Compartir:

0

#Enlace 1 en Imgur.com#
Musica Antiqua Koeln, Reinhard Goebel – J.S.Bach – Die Brandenburgische
Konzerte, Orchestral Suites, Chamber Music [8CD] (1987) [FLAC]
Artist: Musica Antiqua Koeln, Reinhard Goebel
Title: J.S.Bach – Die Brandenburgische Konzerte, Orchestral Suites, Chamber Music
Year Of Release: 1997
Label: Deutsche Grammophon
Genre: Classical
Quality: FLAC (tracks+.cue)
Total Time: 09:07:51
Total Size: 3,25 Gb
CD 1:
[1-4] Brandenburg Concerto No.1
[5-7] Brandenburg Concerto No.2
[8-9] Brandenburg Concerto No.3
[10-12] Brandenburg Concerto No.4
[13-15] Brandenburg Concerto No.5
CD 2:
[1-3] Brandenburg Concerto No.6
[4-6] Concerto for Flute, Violin, Harpsihorg, Strings and Basso Continuo
[7-13] Orchestral Suite BWV 1066
[14-20] Orchestral Suite BWV 1067
CD 3:
[1-5] Orchestral Suite BWV 1068
[6-10] Orchestral Suite BWV 1069
[11-15] Orchestral Suite BWV 1070
CD 4:
[1-4] Sonata for Violin and Harpsihord No.1
[5-8] Sonata for Violin and Harpsihord No.2
[9-12] Sonata for Violin and Harpsihord No.3
[13-16] Sonata for Violin and Harpsihord No.4
[17-20] Sonata for Violin and Harpsihord No.5
CD 5:
[1-5] Sonata for Violin and Harpsihord No.6
[6-20] Sonatas, fugue and suite for Violin and Harpsihord No.6
[21-24] Sonata for Violin and Basso Continuo
CD 6:
[1-3] Sonata for Violin and Basso Continuo BWV 1023
[4-7] Sonata for Violin and Basso Continuo BWV 1024
[8-12] Sonata for Violin and Basso Continuo BWV Anh. 153
[13-16] Sonata for Viola da Gamba and Harpsihord No.1
[17-20] Sonata for Viola da Gamba and Harpsihord No.2
CD 7:
[1-3] Sonata for Viola da Gamba and Harpsihord No.3
[4-8] Sonata for Violin and Harpsihord
[9-12] Sonata for Flute and Basso Continuo No.1
[13-16] Sonata for Flute and Basso Continuo No.2
[17-20] Sonata for Flute and Basso Continuo No.3
CD 8:
[1-4] Partita for Solo Flute BWV 1013
[5-7] Sonata for Flute and Harpsihord No.1
[8-10] Sonata for Flute and Harpsihord No.2
[11-13] Sonata for Flute and Harpsihord No.3
Performers:
Musica Antiqua Koeln – R.Goebel
Robert Hill, Henk Bouman – harpsihord
Jaap Ter Linden – violoncello, viola da gamba
Wilbert Hazelzet – flute
Universal has done everyone a favor by reissuing Reinhard Goebel”s superb Bach
recordings with Musica Antiqua Köln (MAK) in a modestly priced bargain
box. The chamber music was recorded for DG/Archiv”s 300th-Anniversary
Bach Edition, which came out in segments from 1982-1985. The Brandenburg Concerti, Suites, and Triple Concerto came out a few years later. All
proved controversial, though Goebel”s and MAK”s approach to this
repertoire sounds less dated than many who were recording at the time.
Indeed, their penchant for bracing tempos, bold expressive gestures, and virtuosic abandon foreshadows the proclivities of today”s best
period-performance groups. There is nothing remotely dry or academic
about these performances; they are, in a word, terrifically exciting.
Goebel”s Brandenburg Concertos, Orchestral Suites (including the spurious “Fifth Suite” in g-minor), and Triple Concerto never cease to astonish for
their infectious rhythmic vitality, quicksilver responses to Bach”s
constantly shifting textures, and remarkable technical assurance. The
music swings, jitterbugs, rocks, and break-dances with irrepressible
vitality. This is an apotheosis of the dance; the joy of movement raised to the level of heavenly bliss. MAK”s bracing, terpsichorean approach
to Bach”s orchestral music will prove too much of a good thing for some
listeners;but for those willing to take a walk on the wild side will be
amply rewarded.
The charm factor is more often on display in the
chamber music than in the orchestral works. This is, I believe, the most complete set of Bach chamber works available. It includes not only the
canonical sonatas featuring violin, viola da gamba and flute with
harpsichord (or, in some cases, continuo), but a fair number of others
whose authenticity is dubious, but whose invention is quite fetching.
Goebel and Hill offer rhythmically crisp and often extravagantly
expressive playing in the violin-keyboard works. Not everyone will
appreciate Goebel”s occasional “squeezing” of the tone; it was a
fashionable expressive gesture in period-instrument performance practice of the time. But his technical address is superb, and Staier
participates fully, and with tremendous flair, in the contrapuntal
interplay. The flute sonatas (and solo Partita) featuring Hazelet are,
in a word, ravishing. Hazelet plays the pied piper, and the listener is
coaxed along hypnotically. The lesser-known duo sonatas are expertly
dispatched; you will probably never encounter performances that make a
better case for these “attributed” works. The three gamba sonatas are
given more aptly subdued interpretations, though as ever with these
artists there is plenty of rhythmic vitality and textural clarity.
The sound throughout the set is excellent: vividly immediate sense of
presence, surrounded by plenty of hall ambience, yet never so much as to cloud even the most dense of polyphonic textures.
Overall, I would
rank MAK/Goebel”s traversal of the Brandenburgs and Suites very highly
indeed;if you”re not averse to Bach-with-an-attitude, this could be a
first choice for both in the period performance category. The chamber
music discs are a must for all Bach “completists,” even if better
period-instrument versions of the violin sonatas are available (try
Caramigliola on Sony)–to say nothing of modern-instrument greats such
as Oistrakh and Grumiaux. On the other hand, no finer version of the
flute and gamba sonatas exists.
ENLACES INTERCAMBIABLES
#Enlace 2 en Www.keeplinks.eu#


Descarga este programa para romper contraseñas

Publicaciones Relacionadas

« »