# Help me choose Bach recordings!



## MatthewWeflen

OK, so I'm trying to increase my Bach appreciation. Romantic and Classical were my real bags when I started, so I bypassed a lot of Bach. I currently own three Bach recordings:

Karajan's Brandenburg Concertos, which I can sense the deficiencies in; Johann Sebastian Bach by Vikingur Olafsson, a lovely piano sampling of Bach pieces, and The Art of Fugue by Emerson String Quartet. So super opulent, really stripped down, and strings only.

I am looking to understand Bach. I am open to period instrumentation. I want something that will give me the best of Bach in performances that are at least in the ballpark of his intentions for the music. I have a preference for ADD or DDD sound, and tend to privilege recordings from the 70s onward, but a great recording from the 50s or 60s (like the Living Stereo RCA recordings) will certainly do.

Suggestions? Please provide titles or images if you are able so that I can locate the right editions!


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## starthrower

You can find some answers searching existing threads. Here's a list.

Bach recordings
https://www.talkclassical.com/search.php?searchid=3977962


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## wkasimer

I'd start with this set:









Alternatively, the same recordings are included in this bigger set, that includes other composers and is actually a bit cheaper:


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## Bulldog

Bach's Clavierubung III performed by Suzuki on the Bis label.


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## DavidA

The Brandenburgs conducted by Pinnock are a very good set. 
Glenn Gould's 1955 Goldberg Variations
The Christmas Oratorio is a good place to start the vocal music. Harnoncourt's last version is perhaps the best


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## Yornlig

starthrower said:


> You can find some answers searching existing threads. Here's a list.
> 
> Bach recordings
> https://www.talkclassical.com/search.php?searchid=3977962


+1


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## tdc

Schiff's _Well-Tempered Clavier_ on the ECM label
Herreweghe's _St. Matthew Passion_ 1984 recording on harmonia mundi


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## BachIsBest

I'll try to keep my recommendations to recordings that are (fairly) universally well-regarded and on the more approachable side of Bach. But for a first couple recordings I would say these are fairly good bets:

- For keyboard music the Goldberg Variations played by Glenn Gould in 1981 (although you can usually find a set with the 1951 & 1981 recordings for fairly cheap)

- For getting into vocal music I wouldn't recommend the Christmas Oratorio. It is quite long and contains quite a few recitatives. Personally, I'd go with John Elliot Gardiner's recording of Bach's Magnificant.

- For instrumental you could get a Brandenburg Concerto set but I found the violin concertos much easier to get into when I first started listening to Bach. The recording with Racheal Podger and Andrew Manze is very good.

Hope this helps.


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## Bulldog

tdc said:


> Schiff's _Well-Tempered Clavier_ on the EMI label
> Herreweghe's _St. Matthew Passion_ 1984 recording on harmonia mundi


The Schiff is on the ECM label.

By the way, the Herreweghe 1984 is my favorite St. Matthew recording.


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## Bulldog

BachIsBest said:


> For getting into vocal music I wouldn't recommend the Christmas Oratorio. It is quite long and contains quite a few recitatives. Personally, I'd go with John Elliot Gardiner's recording of Bach's Magnificat.


Gardiner is a great choice for the Magnificat, but I'm not in agreement about recitatives. They are real music and often very compelling.


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## Schoenberg

Grumiaux's solo violin partitas and sonatas is another must have.


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## Mandryka

MatthewWeflen said:


> Johann Sebastian Bach by Vikingur Olafsson, a lovely piano sampling of Bach pieces,


He's very special I agree, and I've been racking my brains because I knew that there's someone with a touch like his. Finally I remembered who it was: Joanna MacGregor. If you like Vikingur Olafsson try some Bach by Joanna MacGregor, this maybe











MatthewWeflen said:


> The Art of Fugue by Emerson String Quartet. So super opulent, really stripped down, and strings only.


I'm going to suggest something a bit off the wall. It's stripped down and it's strings only. I think you may enjoy Paolo Pandolfo playing Bach. There's something about the way he touches the strings which reminds me of the way that Olafsson touches the piano. This is the CD I mean











MatthewWeflen said:


> I am looking to understand Bach. I am open to period instrumentation.


This is what I would do. Get hold of this CD, it's just one CD, a sampler from an enormous Bach box with music by lots of different performers, you can find it on amazon for peanuts.

View attachment 114243


see what you like and then move to more of the same by whoever's playing.


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## Brahmsianhorn

Pinnock Brandenburgs
Gould ‘81 Goldberg variations
Gardiner Magnificat
Milstein Violin sonatas and partitas 
Fournier Cello suites
Grumiaux Violin concertos


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## JosefinaHW

A belated welcome to TC, Matthew! Bulldog already hinted at it, but I'd like to know if you like Sacred vocal music? Plz be aware I am probably one of the least knowledgeable TC members re/ CM, but my personal experience with some of his sacred music has been validated by MANY educated musicians and musicologists. Bach's Mass in B Minor is an extraordinarily beautiful; life-altering; moving; intellectually stimulating; and so I've read--a masterpiece of composition. The "problem" is that it has been and continues to be performed in extremely different ways. Personally, the more you listen to this Thing, particularly as you bring differently life-experiences to it, the more you appreciate different performance styles.

(FYI: You don't have to be a Christian or believe in God to love this music; it's the human condition.)

Let me see what is currently on YouTube. In the order they appeared in my YouTube search:


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## bharbeke

I am still exploring Bach myself, but I have a few recommendations that I can give without reservation. Try the fourth cello suite BWV 1010 by Nina Kotova, the third keyboard concerto BWV 1054 by Wallez, Tacchino, and Ensemble Orchestral de Paris, and the Italian Concerto BWV 971 by Andras Schiff.


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## JosefinaHW

The list is really endless. Bharbeke reminded me of the Cello Suites (how could anyone forget?). I'll post a link to one of many fabulous recordings. Honestly, there is really no need for you to purchase any recordings yet. I would first look up recordings people have already mentioned on YouTube or other streaming services. Then compare those that immediately grab you with two or three other recordings available on YouTube, etc.....

Ok, the Cello Suites. I love them all, but start with the Sixth on the following:

(FYI, the performer does hum to himself from time to time. It doesn't bother me in the least. It's not like Gould)

1:51:02 (They are all sublime!)


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## StrangeHocusPocus

I have an original recording provided to me by a time traveller, who said he acquired it from a Sotheby's action in 1748


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## BachIsBest

Bulldog said:


> Gardiner is a great choice for the Magnificat, but I'm not in agreement about recitatives. They are real music and often very compelling.


I don't disagree, but I remember when I was first getting into Bach they were a bit of a slog for me and I was trying to think from the perspective of someone just getting into Bach.


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## JosefinaHW

BachIsBest said:


> I don't disagree, but I remember when I was first getting into Bach they were a bit of a slog for me and I was trying to think from the perspective of someone just getting into Bach.


Hail, BachisBest! (What a great name) What will appeal to him very much might depend on his life experience and experience with vocal music.


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## MatthewWeflen

Thank you everyone for the recommendations. I've added the Pinnock and Joanna MacGregor to my wish list, and am sampling the "Bigger Bach Set" from Amazon presently. I will report back, but am always looking for more recommendations.

The piece I've responded to most, FWIW, was on the Olafsson disc, Organ Sonata 4 BWV 528.


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## Larkenfield

Brendel Plays Bach


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## Reichstag aus LICHT

Bulldog said:


> The Schiff is on the ECM label.


Indeed, and not forgetting his earlier set of the "48" on Decca.

ECM or Decca, Schiff is sublime in this repertoire. Apart from the Well-Tempered Clavier, his various Bach recordings - solo keyboard works and concertos - are well worth having.


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## Hermastersvoice

Many good recommendations about, often displaying personal preferences (but that’s the way it is) so which ones to choose? Well, there’s a certain eternal quality about Bach’s music which renders all discussions obsolete. It’s the quality which makes the music timeless - it sounds modern, even today, it must sound modern today. Few artists can bring that quality out and that’s why the discussion about period instruments, for them, becomes important. However, as said, it’s an obsolete discussion in the hands of the right artists. So, who can make this obsolete? Klemperer for the orchestral music is a good bet, pulse inevitable, it breathes with the planet almost. Karl Richter makes a good job of most of the cantatas for the same reason. Gould was of course a fabled interpreter of the piano music, only occasionally he likes to show off. Try R Tureck to complement, her playing never waivers, there’s the same inevitable quality about it that you find with Klemperer.


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## NLAdriaan

As I am late for your first order, you will sure go for a second

Recommendations:
Sviatoslav Richter for Bach on piano. If you can get hold of 'the authorised recordings Bach Box', along with a box of Wohltemperiertes Klavier (either version, the RCA studio version is probably the easiest to get). For the first book of the WTK, I also recommend Pollini's recent DG recording, very very nice.

I absolutely recommend to get this Ton Koopman box at a total bargain, as it is (among) the best you can get in these indispensable Bach pieces, both passions and the Hohe Messe: 








Ton Koopman also for Bach's 4 Suites for orchestra.

If you are ready for the heavy stuff, Ton Koopman's inspiring complete Bach organ works are yours for a bargain (CD box) and it is a world of its own, if you can bear the king of instruments

I would go for the Cello Suites and can recommend Peter Wispelwey's third recording ( B076N1SN8G ), but also Truls Mork or Steven Isserlis. I personally would avoid Rostropovich.

For the Goldberg variations, apart from the 'obvious' but unique Gould (also his second recording is great and has better sound), I also recommend Jeremy Denk.

A bit underrated, so I like to recommend the "Motetten", a bit of analytical choral music, for which I can recommend the 2012 recording of Gardiner (this is really the only time I can recommend Gardiner in Bach, but that's a personal opinion)

Once you feel ready to reach the summit, try the abstract Kunst Der Fuge and Musikalisches Opfer, for which I recommend the Recording by Jordi Savall (B00005NTKG), as he plays this music in light festive manner.

And if you still are hungry, go for cantatas (for which you better can start a separate thread, to get ideas by everyone here).

Wow, enjoy exploring this new universe of music!! Closer to heaven you won't get:angel:


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## Portamento

As for the cello suites, you can't go wrong with Casals, Fournier, and Isserlis (my top three).


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## Brahmsianhorn

Brahmsianhorn said:


> Pinnock Brandenburgs
> Gould '81 Goldberg variations
> Gardiner Magnificat
> Milstein Violin sonatas and partitas
> Fournier Cello suites
> Grumiaux Violin concertos


To be clear, with the exception of the Gould Goldberg Variations, these are not my personal preferences for Bach. I was going by the OP's parameters of quasi period performance. Also assuming the OP wants modern sound quality.

But the Bach recordings I listen to most often for enjoyment, and that I believe really get to the heart of Bach's music, are:

Busch - Brandenburgs/Orchestral suites
Casals - Cello suites
Edwin Fischer - Well-Tempered Clavier
Enescu - Violin sonatas and partitas 
Menuhin/Enescu - Violin concertos
Mengelberg - St Matthew Passion
Scherchen - Mass in b minor
Hotter - Ich habe genug
Walcha - Complete organ works
Schnabel - Italian concerto/Chromatic fantasia and fugue


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## flamencosketches

Some of my favorites include Richter's Well-Tempered Clavier, any of Suzuki's Cantatas (I like Vol. 1 with Christ lag in Todesbanden), Glenn Gould's 1955 Goldberg Variations, Bob van Asperen's French Suites, Jordi Savall's Musical Offering, John Williams' (guitarist, not the composer) Lute Suites, and Schiff's 6 Partitas. I'm not a huge fan of Vikingur Olafsson's Bach. He plays Bach as if he were Philip Glass.


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## Bulldog

Brahmsianhorn said:


> But the Bach recordings I listen to most often for enjoyment, and that I believe really get to the heart of Bach's music, are:
> 
> Busch - Brandenburgs/Orchestral suites
> Casals - Cello suites
> Edwin Fischer - Well-Tempered Clavier
> Enescu - Violin sonatas and partitas
> Menuhin/Enescu - Violin concertos
> Mengelberg - St Matthew Passion
> Scherchen - Mass in b minor
> Hotter - Ich habe genug
> Walcha - Complete organ works
> Schnabel - Italian concerto/Chromatic fantasia and fugue


The ancient list beckons!


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## Brahmsianhorn

Bulldog said:


> The ancient list beckons!


So I shouldn't listen to the recordings from which I get the most enjoyment? Why listen at all then?


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## premont

Many of the recommendations in this thread reflect a nostalgic taste (historical recordings), which I think is less ideal to imprint newcomer to Bach's music with.


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## Bulldog

Brahmsianhorn said:


> So I shouldn't listen to the recordings from which I get the most enjoyment? Why listen at all then?


Just playing with you.

FWIW, I very much like Bach from Casals, Fischer, Walcha and Schnabel.

One more thing. You sure are consistent - you know what you like and you're proud to say so. I admire that quality.

Anyways, "Walcha" is this morning's magic word, and I'm off to listen to his Bach.


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## wkasimer

premont said:


> Many of the recommendations in this thread reflect a nostalgic taste (historical recordings), which I think is less ideal to imprint newcomer to Bach's music with.


Actually, most of the recommendations in this thread have been refreshingly modern, many by performers who are (gasp) still living and performing.


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## NLAdriaan

Brahmsianhorn said:


> So I shouldn't listen to the recordings from which I get the most enjoyment? Why listen at all then?


Each his own! I just tried to listen to Enescu's solo Bach recording from 1940, but I just can't get any enjoyment out of such an old recording. Even Milstein solo Bach recordings are not my cup of tea. Perlman, Mintz or Mullova and occasionally Kremer are doing it for me.

Good thing, we can each enjoy this wonderful music!


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## wkasimer

NLAdriaan said:


> Each his own! I just tried to listen to Enescu's solo Bach recording from 1940, but I just can't get any enjoyment out of such an old recording.


I agree with you - and I don't think that Enescu's playing was good enough to warrant suffering through sonics that poor.



> Even Milstein solo Bach recordings are not my cup of tea.


Have you heard both recordings? They're very, very different in style.



> Perlman, Mintz or Mullova and occasionally Kremer are doing it for me.


Kremer's two traversals are among my favorite Bach recordings.


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## NLAdriaan

wkasimer said:


> Have you heard both recordings? They're very, very different in style.
> 
> Kremer's two traversals are among my favorite Bach recordings.


I only listened to Milsteins second recording from 1975.

Kremer's Bach indeed is a gem. To me, his somewhat rough edged playing goes directly to the heart of the music. I prefer the second ECM recording, how about you?

From his first Philips recording I know that he recorded it in a dark church at night. As he walked around while playing, the engineers were a bit helpless. They put a cross on the floor, but of course this didn't help much in the dark. It has nothing to do with the music, but it comes to mind.


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## Brahmsianhorn

NLAdriaan said:


> Each his own! I just tried to listen to Enescu's solo Bach recording from 1940, but I just can't get any enjoyment out of such an old recording. Even Milstein solo Bach recordings are not my cup of tea. Perlman, Mintz or Mullova and occasionally Kremer are doing it for me.
> 
> Good thing, we can each enjoy this wonderful music!


FWIW, I prefer the 1949 Enescu recording. My second choice is the Menuhin from the 1930s, which ironically is a much better recording quality.

My favorite sets are:

1. Enescu '49
2. Menuhin (EMI)
3. Milstein (EMI)
4. Perlman


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## Brahmsianhorn

Bulldog said:


> Just playing with you.
> 
> FWIW, I very much like Bach from Casals, Fischer, Walcha and Schnabel.
> 
> One more thing. You sure are consistent - you know what you like and you're proud to say so. I admire that quality.
> 
> Anyways, "Walcha" is this morning's magic word, and I'm off to listen to his Bach.


And I do of course hold the 1981 Gould Goldberg Variations in the highest esteem. In fact I just happened to listen to it last night.

Believe me, I wish there were more modern recordings that moved me the same way as the old masters. One newer recording with which I have just become recently acquainted is Dorati's 1981 Rite of Spring. Outstanding! I think it is my favorite now, outranking both the composer's own and the 1929 Stokowski.


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## wkasimer

NLAdriaan said:


> I only listened to Milsteins second recording from 1975.


The earlier EMI is generally faster and more aggressively played, less concerned with beauty of tone, and played with less flexibility of tempo.



> Kremer's Bach indeed is a gem. To me, his somewhat rough edged playing goes directly to the heart of the music. I prefer the second ECM recording, how about you?


I know a lot of people object to Kremer's astringent tone quality, but it's never bothered me. Both sets have a sort of improvisatory quality; I prefer the ECM for its better sonics.



> From his first Philips recording I know that he recorded it in a dark church at night. As he walked around while playing, the engineers were a bit helpless. They put a cross on the floor, but of course this didn't help much in the dark. It has nothing to do with the music, but it comes to mind.


I didn't know that - thanks!


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## NLAdriaan

Brahmsianhorn said:


> FWIW, I prefer the 1949 Enescu recording. My second choice is the Menuhin from the 1930s, which ironically is a much better recording quality.
> 
> My favorite sets are:
> 
> 1. Enescu '49
> 2. Menuhin (EMI)
> 3. Milstein (EMI)
> 4. Perlman


Well, we both enjoy Perlman:tiphat:

To me, Perlman represents a certain style, that of the old masters (no offense) and Mintz seconds him. Kremer, like Mullova to a lesser extent, to me touches the core of the music, rough and fleshy. I think in musical milestones like these pieces, you are better served with a small variety of favored interpretations.

Just out of curiosity, did you listen to Kremer, especially his second ECM recording? I am curious to find out what you think of it.

In general, am I right in saying you prefer the OP instead of the HIP? I can say that when HIP started off, I just about became interested in classical music (seventies). The first recordings were actually quite false, as the musicians were unexperienced in playing these instruments. Therefor the Leonhardt/Harnoncourt cantatas my parents had, began with recordings I just couldn't take serious (harsh, false). Since the eighties, the quality of HIP became perfect and it refreshed the music immensely.

As you obviously love Brahms, did you ever hear Gardiner conduct Brahms or Berlioz? I did and I found it really interesting, especially Berlioz Symfonie Fantastique with Gardiner's own orchestra.


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## Brahmsianhorn

Never been a fan of Kremer but will give it a try.

I love the Gardiner Brahms Requiem. Best choral singing I’ve ever heard in the work, beautifully shaped.

I’m not anti-HIP. It’s just that more often than not they seem to be prioritizing the wrong things. As someone else recently stated, Bach would probably be shocked to learn we are performing his works at all much less expect us to exactly duplicate his supposed performance intentions. I happen to think the Casals’, Busch’s, Fischer’s, and Enescu’s did more credit to Bach than anyone since. The newbies seem to all be trying to one-up each other in who can be the correctest. Completely misses the point of the music.


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## NLAdriaan

Brahmsianhorn said:


> ...Never been a fan of Kremer but will give it a try....
> 
> ...The newbies seem to all be trying to one-up each other in who can be the correctest. Completely misses the point of the music...


I think that the best HIP recordings are devoted to the meaning of the music and not anymore to a contest who uses the least singers or speeds up most.

I am a big fan of Ton Koopman, who exactly has the right touch in both devotion and drive. His Bach organ works or the cantatas or the Passions and Hohe Messe are really uplifting. Last year I heard his St Matthews Passion in concert, conducting the ('OP' instruments) Concertgebouw Orchestra. It was a memorable concert. The Concertgebouw Orchestra hired Harnoncourt many years as guest conductor and he would exclusively conduct the annual Passion concert, which helped in getting the orchestra to become truly agile. To me, the OP is just too heavy and creamy, too slow motion. But in the end, it is all about what connects best. So, as we started this conversation, each his own!

Happy listening:tiphat:


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## Zofia

If you wish to truely understand J.S. Bach you must start with works recorded with peroid instruments in my opinion.


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## Bulldog

Zofia said:


> If you wish to truely understand J.S. Bach you must start with works recorded with peroid instruments in my opinion.


That's one opinion. Mine is that after listening to my musical soul-mate Bach for over 60 years, I don't totally understand the man or his music. I just don't see how it would be possible.


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## Brahmsianhorn

Listening to CD2 of Enescu '49 violin sonatas and partitas right now. Riveting! Great way to start the morning.


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## Mandryka

Brahmsianhorn said:


> Listening to CD2 of Enescu '49 violin sonatas and partitas right now. Riveting! Great way to start the morning.


I just listened to him play the 1005 fugue, he certainly milks it doesn't he!

It's interesting because we've got a thread going on here about manipulative music. Is that fugue manipulative? Well, I felt that Ensescu was rather obviously trying to manipulate me into feeling something.

I think this is the one I was listening to on spotify, I'm not totally sure though






Was he suffering from RA at the time of that recording? That backstory adds a lot to my experience of listening to him play. There's something powerful about the idea of the music being wrest, beaten, wrought out of such natural evil, such pain, there's a metaphor there.


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## premont

wkasimer said:


> Actually, *most of the recommendations in this thread have been refreshingly modern*, many by performers who are (gasp) still living and performing.


Yes, and I was not thinking of these.


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## Mandryka

Bulldog said:


> That's one opinion. Mine is that after listening to my musical soul-mate Bach for over 60 years, I don't totally understand the man or his music. I just don't see how it would be possible.


She didn't say totally, she said truly. The truth, but not necessarily the whole truth.


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## Bulldog

Mandryka said:


> She didn't say totally, she said truly. The truth, but not necessarily the whole truth.


You sound like a typical politician.


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## JosefinaHW

Matthew, it would be helpful if you would tell us your favorite instruments; musical forms; composers; a bit of your experience with vocal music; and, do you yourself play an instrument.

There is something that I keep hearing/reading, but have never read here on TC. I have now heard two composers and Anthony Tommasini say that Bach's _Harmonized Chorales_ as pulbished by G. Schirmer and Riemenschneider are masterpieces of harmonization and have long-been recommended as practice for all composers (musicians?) to play repeatedly and assimilate Bach's compositional genius.

I hesitated to bring this up here on TC because of the serialists' over-representation in American universities--so whole generations may not have ever been made aware of Bach's genius in this way.

Were/are you a music student at the university level? Have you ever been told this re/ the Riemenschneider Bach? If not, you might want to buy a copy and play one every day. IMHO.


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## MatthewWeflen

JosefinaHW said:


> Matthew, it would be helpful if you would tell us your favorite instruments; musical forms; composers; a bit of your experience with vocal music; and, do you yourself play an instrument.
> 
> There is something that I keep hearing/reading, but have never read here on TC. I have now heard two composers and Anthony Tommasini say that Bach's _Harmonized Chorales_ as pulbished by G. Schirmer and Riemenschneider are masterpieces of harmonization and have long-been recommended as practice for all composers (musicians?) to play repeatedly and assimilate Bach's compositional genius.
> 
> I hesitated to bring this up here on TC because of the serialists' over-representation in American universities--so whole generations may not have ever been made aware of Bach's genius in this way.
> 
> Were/are you a music student at the university level? Have you ever been told this re/ the Riemenschneider Bach? If not, you might want to buy a copy and play one every day. IMHO.


I played piano as a child, but not seriously as an adult. I have sung madrigal as an amateur and have very good pitch.

My favorite Composers are Beethoven (above all), Brahms, R. Strauss, Mendelssohn, and Mozart. I have a general preference for the romantic period. I have responded most to fully orchestrated pieces of music. The bigger the band, the better I've tended to like it (which is not to say I dislike chamber music, I just tend to return to symphonies and other orchestral forms more frequently).

As far as favorite instruments to listen to, I adore a well-miked tympani in a recording. I'd say cello and trombone give me the most goosebumps when it comes to brass and strings.


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## JosefinaHW

Here's a bit of tympani from one of my favorite Bach interpreter's Philippe Herreweghe:






There are two particular performances of the Passions that I'd like to share with you, but I can't find them in their entirety at the moment.


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## david johnson

Live dangerously, get some of those Stokowski transcriptions! They are great


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## BachIsBest

david johnson said:


> Live dangerously, get some of those Stokowski transcriptions! They are great


Those could very easily get you killed by a rabid pack of Bach purists.


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## JosefinaHW

BachIsBest said:


> Those could very easily get you killed by a rabid pack of Bach purists.


Do we have any Bach purists on here?!?! I'd love to know who they are and I wish they'd post more.


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## Reichstag aus LICHT

david johnson said:


> Live dangerously, get some of those Stokowski transcriptions! They are great


If you want to live even more dangerously, try Webern's arrangement of the Ricercar from the _Musical Offering_


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## premont

JosefinaHW said:


> Do we have any Bach purists on here?!?! I'd love to know who they are and I wish they'd post more.


I do not think, there are many true Bach purists here. But there are many, who prefer HIP but also accept and - like myself - even are able to enjoy a number of non-HIP interpretations.


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## Mandryka

david johnson said:


> Live dangerously, get some of those Stokowski transcriptions! They are great


Very amusing to see all those people in the orchestra wearing lounge suits and ties, all men I think, it's like a meeting of IBM executives.


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## diegorvila

This link is broken...


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## diegorvila

starthrower said:


> You can find some answers searching existing threads. Here's a list.
> 
> Bach recordings
> https://www.talkclassical.com/search.php?searchid=3977962


I mean, THIS link is broken.


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## Flippo63

Hello,

Murray Perahia complete Bach recordings is very reasonabl priced and very good.


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## Oldhoosierdude

If no one mentioned the Cello suites then I do. There are a ton of good recordings, so take your pick. If you are going the cd route then look on eBay for something. I recommend Yo-Yo Ma, Fournier, Gendron.


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## Bulldog

Oldhoosierdude said:


> If no one mentioned the Cello suites then I do. There are a ton of good recordings, so take your pick. If you are going the cd route then look on eBay for something. I recommend Yo-Yo Ma, Fournier, Gendron.


Yo-Yo Ma has 3 recordings of the Cello Suites. Which one do you favor?


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## Ras

*Jordi Savall doing the orchestral suites, the Brandenburgs and the B minor Mass*



MatthewWeflen said:


> OK, so I'm trying to increase my Bach appreciation. I am looking to understand Bach.
> Suggestions?


I can't say I understand Bach, but I love his music - he is my favorite composer.

I think you should start with the greatest Bach works there is conducted by the greatest Bach conductor: *Jordi Savall*:

*The Four Orchestral Suites:









The Brandenburg Concertos:









The B minor Mass:







*

I'll be back with more - _hasta la vista, baby!_


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## flamencosketches

I have Jordi Savall's Musical Offer and it's great, but the greatest Bach conductor? Eh, I don't know, maybe he is. I didn't realize he'd done so many recordings of Bach's works. I'm going to look into his Brandenburgs and B minor Mass as I still don't have a recording of either of those that I'm satisfied with.


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## tdc

I don't think there is one greatest Bach conductor, Savall is good certainly. For the large scale works I tend to prefer Herreweghe. I like Gardiner's Christmas Oratorio. Suzuki is a big name for the Cantatas, but I haven't delved into his recordings too deeply yet.


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## philoctetes

Savall's instrumental Bach is my top choice, but I find his southern voices aren't quite the right fit for the masses. For that I prefer Herreweghe overall.

My favorite cello suites are by Phoebe Carrai and violin S&Ps by Stanley Ritchie.


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## flamencosketches

Suzuki is REALLY good in the Cantatas, and not half bad in the Saint Matthew Passion. In fact, of the HIP conductors in my library for Bach, I rate him first, for sheer consistency. I'm not crazy about Gardiner in Bach but I have not heard much.


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## Guest

MatthewWeflen said:


> OK, so I'm trying to increase my Bach appreciation. Romantic and Classical were my real bags when I started, so I bypassed a lot of Bach. I currently own three Bach recordings:
> 
> Karajan's Brandenburg Concertos, which I can sense the deficiencies in; Johann Sebastian Bach by Vikingur Olafsson, a lovely piano sampling of Bach pieces, and The Art of Fugue by Emerson String Quartet. So super opulent, really stripped down, and strings only.
> 
> I am looking to understand Bach. I am open to period instrumentation. I want something that will give me the best of Bach in performances that are at least in the ballpark of his intentions for the music. I have a preference for ADD or DDD sound, and tend to privilege recordings from the 70s onward, but a great recording from the 50s or 60s (like the Living Stereo RCA recordings) will certainly do.
> 
> Suggestions? Please provide titles or images if you are able so that I can locate the right editions!


I love Bach, and probably have more recordings by him than any other composer.
The Goldberg Variations are quite possibly my favorite of his works. I have many recordings, but go back to Murray Perahia the most.
The Cello Suites are wonderful - for two very different styles, I recommend Fournier and Rostropovich.
The St. Matthew Passion is magnificent, and I love Herreweghes's recording.
The B Minor Mass- Suzuki has a wonderful recording.
Suzuki also does a great job with the cantatas.
The organ music, recorded by Walcha, is my preference.
Brandenburg Concertos - so many choices. I like Alessandrini.
Orchestral Suites - Diego Fasolis.
Violin Concertos - Andrew Manze


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## Guest

I enjoy all of Savall's Bach, but really only prefer his recordings of the Art of Fugue and the Musical Offering.


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## Ras

flamencosketches said:


> I have Jordi Savall's Musical Offer and it's great, but the greatest Bach conductor? Eh, I don't know, maybe he is. I didn't realize he'd done so many recordings of Bach's works. I'm going to look into his Brandenburgs and B minor Mass as I still don't have a recording of either of those that I'm satisfied with.


I should have said that he is my favorite Bach conductor - not greatest. I should have learned that by now. He is my favorite not because of quantity, but because of quality. Other than the three recordings I mentioned yesterday as far as I know he has only recorded his homemade Markus Passion and the Magnificat. I wish he would record the passions and the violin concertos.


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## Ras

flamencosketches said:


> Suzuki is REALLY good in the Cantatas, and not half bad in the Saint Matthew Passion. In fact, of the HIP conductors in my library for Bach, I rate him first, for sheer consistency. I'm not crazy about Gardiner in Bach but I have not heard much.


These performances - originally recorded for Erato - are some of my favorite in the repertoire: (I don't know how many singers he uses for the motets, but choir sounds bigger than on most other period recordings:









He also recorded fine performances of the Orchestral Suites: (they seem to be out of print though):


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## Enthusiast

I do like Savall's Bach recordings (which is more than I can say for many of Gardiner's). But there are often ones that I prefer a lot more.


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## Brahmsianhorn

Top 10 Bach recordings IMO:

1. Casals cello suites
2. Mengelberg St Matthew Passion
3. E. Fischer well-tempered Clavier
4. Busch Brandenburgs/orchestral suites
5. Enescu ‘49 violin sonatas & partitas
6. Gould ‘81 Goldberg variations
7. Menuhin/Enescu violin concertos
8. Hotter Ich habe genug
9. Scherchen ‘59 Mass in b minor
10. Schnabel chromatic fantasia/Italian concerto


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## Mandryka

Brahmsianhorn said:


> Top 10 Bach recordings IMO:
> 
> 1. Casals cello suites
> 2. Mengelberg St Matthew Passion
> 3. E. Fischer well-tempered Clavier
> 4. Busch Brandenburgs/orchestral suites
> 5. Enescu '49 violin sonatas & partitas
> 6. Gould '81 Goldberg variations
> 7. Menuhin/Enescu violin concertos
> 8. Hotter Ich habe genug
> 9. Scherchen '59 Mass in b minor
> 10. Schnabel chromatic fantasia/Italian concerto


All by long dead people!

There's something I picked up about the Schnabel - that he didn't want it to be released but his family decided to override his wishes after he died. Can anyone confirm or deny, I could be confusing things.

I've heard all the recordings on your list apart from the violin concertos and I can well understand why someone would like them musically, apart from the Casals, which to me seems very unengaged in the music apart from the preludes and the sarabandes.


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## premont

Brahmsianhorn said:


> Top 10 Bach recordings IMO:
> 
> 1. Casals cello suites
> 2. Mengelberg St Matthew Passion
> 3. E. Fischer well-tempered Clavier
> 4. Busch Brandenburgs/orchestral suites
> 5. Enescu '49 violin sonatas & partitas
> 6. Gould '81 Goldberg variations
> 7. Menuhin/Enescu violin concertos
> 8. Hotter Ich habe genug
> 9. Scherchen '59 Mass in b minor
> 10. Schnabel chromatic fantasia/Italian concerto


To me it looks as if you haven't updated your 78 RPM TT.


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## Judith

I may be biased as I love these musicians to bits but cannot see them mentioned so here goes!
Cello Suites. Steven Isserlis
Violin Concerto Joshua Bell and ASMF
Brandenburg Concertos & Orchestral Suites ASMF Sir Neville Marriner


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## Kjetil Heggelund

This just might be my favorite Bach recording!


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## Ras

If I was just going to get started with Bach I would put my money down on *the DG/Archiv set with Trevor Pinnock's Bach recordings -- : You get the 4 Orchestral Suites - the 6 Brandenburgs and 19 other concertos -- beware the harpsichord concertos on this period recording are off course played on harpsichord - If you want a recording on piano I would recommend Glenn Gould's recording on Columbia/Sony.* Here is Pinnock:


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## Enthusiast

I like a few sets of the Brandenburg Concertos more than all the others I have heard - these are either of the Harnoncourt sets, the Collegium Aureum set (led by Gustav Leonhardt) and Goebel's set. I could sacrifice all of the other HIP accounts for those four. And I also have two favourite recordings of the Mass in B minor - this one from Bruggen

View attachment 119199


and the one by Arcangelo & Jonathan Cohen. These two are a long way ahead in my affections than the usual candidates.

For the 4 Suites (Overtures) I think the Freiburger Barockorchester set is rather special. Harnoncourt's account of the 3rd Suite is also a must have for me.


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## numinisgos

_Summa summarum_

I. *Kantaten* (Cantatas), BWV 1-224

As a beginner avoid 'complete sets' like the ones by Harnoncourt/Leonhardt, Suzuki, Gardiner, Koopman. I'd start with

I.I. Cantatas BWV 56, 82. Brüggen, Baroque Orchestra, van Egmond, van der Kamp, Meeuwsen, Geraerds, de Lange. 
Seon, 1977. 
I.II. Trauerode BWV 198, Cantata BWV 78. Herreweghe, Collegium Vocale, La Chapelle Royale, Brett, Kooy, Crook, 
Schmithüsen. Harmonia Mundi, 1988.
I.III. Ten cantatas with violoncello piccolo, BWV 180, 49, 115, 85, 183, 199, 175, 6, 41, 68. Coin, Ensemble Baroque de 
Limoges, Leipzig Concerto Vocale, Accentus, Scholl, Schlick, Pregardien, Schwartz. Astrée Auvidis, 1995.
I.IV. Solo Cantatas BWV 35, 169, 170. Mullejans, Freiburg Barockorchester, Fink. Harmonia Mundi, 2009.
I.V. Leipzig Cantatas, Ach Süsser Trost!, BWV 25, 46, 105, 138. Herreweghe, Collegium Vocale Gent, Guillon, Kooij, 
Blazikova, Hobbs. PHI, 2013.

Then check online recordings from the aforementioned complete cycles if you ever wish to purchase one.

II. *Motetten* (Motets), BWV 225-231

II.I Motets, BWV 225-231. Gardiner, Monteverdi Choir. Soli Deo Gloria, 2012
II.II Motets, BWV 225-231. Katschner, Lautten Compagney. DHM, 2012.

III. *Messen, Messensätze, Magnificat* (Masses, Mass movements, Magnificat), BWV 232-243

III.I Mass in B-Minor, BWV 232. Suzuki, Bach Collegium Japan, Blaze, Kooij, Turk, Sampson, Nicholls. BIS, 2007.
III.II Mass in B-Minor, BWV 232. Herreweghe, Collegium Vocale Gent, Kooij, Guillon, Mields, Blazikova, Hobbs. 
PHI, 2011.

III.III Lutheran Masses, BWV 233-6. Purcell Quartet, Gritton, Blaze, Padmore, Harvey. Chandos, 2000

III. IV. Magnificat, BWV 243. Gardiner, English Baroque Solists, Monteverdi Choir, Argenta, Kwella, Brett, Johnson, 
Thomas, Kirkby. Philips, 1985.

OR go with III. V. Ricercar's Consort recording under the direction of Philippe Pierlot, Mirare, 2009.

IV. *Passionen, Oratorien* (Passions, Oratorios), BWV 244-249

The non-hip choices:

IV. I. Matthäus-Passion, BWV 244. Richter, Münchener Bach-Chor, Münchener Bach-Orchester, Haefliger, Engen, 
Seefried, Fahberg, Topper, Dieskau, Proebstl. Arkiv, 1958.
IV. II. Matthäus-Passion, BWV 244. Klemperer, Philharmonia Orchestra & Choir, Schwarzkopf, Pears, Gedda, 
Dieskau, Ludwig. EMI, 1961

HIP:

IV.III. Matthäus-Passion, BWV 244. Gardiner, Monteverdi Choir & London Oratory Junior Choir, von Otter, Schmidt, 
Hauptmann, Crook. Archiv, 1988. 
IV.IV. Matthäus-Passion, BWV 244. Harnoncourt, Concentus Musicus Wien, Henschel, Goerne, Wildmer, Pregardien, 
Schäfer. Teldec, 2001
IV.V. Matthäus-Passion, BWV 244. Jacobs, RIAS Kammerchor, Akademie für Alte Musik Berlin, Im, Fink, Gura, 
Lehtipuu, Weisser, Wolff. Harmonia Mundi, 2014.

NH:

IV.VI. Johannes-Passion, BWV 245. Rillling, Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart, Hamari, 
Dieskau, Huttenlocher, et. al. CBS, 1984.

Also IV.VII. Forster with the BPO accompanied by Wunderlich, Dieskau, Ludwig. Originally recorded in 1961, reissued by Warner Classics.

HIP:

IV.VIII Johannes-Passion, BWV 245. Gardiner, Monteverdi Choir, English Baroque Soloists, Padmore, Fink, Fuge, 
Lunn, Brachmann, Harvey. Soli Deo Gloria, 2011.
IV.VIX. Johannes-Passion, BWV 245. Butt, Dunedin Consort. Linn, 2013.

IV.X. Weihnachtsoratorium, BWV 248. Harnoncourt, Concertus Musicus Wien, Arnold Schoenberg Chor, Gura, Fink, Finley, Gerhaher. DHM, 2008.

IV.XI. Osteroratorium, BWV 249. Parrott, Taverner Consort, Kooij, Trevor, Charlesworth, Kirkby, Daniels, Jochens. 
EMI, 1993.

V. *Werke für Orgel* (Works for organ), BWV 525-771

V.I. Das Orgelwerk. Walcha. Archiv, 1956-1971.

VI. *Werke für Klavier* (Keyboard compositions), BWV 772-994

Don't hesitate to give Gould a serious amount of time listening to each and every one of his Bach records. The same holds for Richter.

VI.I Inventions & Sinfonias, BWV 772-801. Landowska. RCA, 1954-5, 1958-9. 
VI.II. Inventions & Sinfonias, BWV 772-801. Suzuki. BIS, 1999.
VI.III. Interesting idea, Heifetz did it earlier along with Primrose & Piatigorsky; yet, this is an excellent record: Inventions & Sinfonias, BWV 772-801. Jensen, Rysanov, Thedéen (violin, viola, cello). Decca, 2007.

VI.IV. English suites, BWV 806-811. Leonhardt. EMI, 1985. 
VI.V. English suites, BWV 806-811. Perahia. Sony, 1998.

VI.VI. French suites, BWV 812-817. Hogwood. Decca, 1984.
VI.VIII. French suites, BWV 812-817. Gavrilov. DG, 1995.

VI.IX. Clavier-Übung I (Partitas for keyboard), BWV 825-830. Tureck. EMI, 1958.
VI.X. Clavier-Übung I (Partitas for keyboard), BWV 825-830. Pinnock. Archiv, 1985.

VI.XI. Das wohltemperierte Klavier, BWV 846-893. Feinberg. 1958-1961.
VI.XII. Das wohltemperierte Klavier, BWV 846-893. Gilbert. Archiv, 1984.

VI.XIII. Toccatas, BWV 910-916. van Asperen. EMI, 1991.

VI.XIV. Goldberg Variationen, BWV 988. Tureck. EMI, 1958. 
VI.XV. Goldberg Variationen, BWV 988. Gould. Sony, 1981. 
VI.XVI. Goldberg Variationen, BWV 988. Hantai. Mirari, 2003.

VII. *Werke für Laute* (Lute compositions), BWV 995-1000

VII.I. Lute suites, BWV 996-1000, Transcriptions on BWV 1001-2, BWV 1004, 1006, 1009, 1012. Segovia. DG, 1952-
1967.
VII.II. The works for lute in original keys & tuning. Kirchhof. Vivarte, 1990.
VII.III. Lute suites, BWV 996, 998, 1006a; Transcription of the Chaconne from BWV 1004. Bream. EMI, 1992.

VIII. *Kammermusik* (Chamber music), BWV 1001-1040

NH:

VIII.I. Sonatas & partitas for solo violin, BWV 1001-1006. Menuhin. EMI, 1934-6. 
VIII.II. Sonatas & partitas for solo violin, BWV 1001-1006. Milstein. EMI, 1954-6. 
VIII.III. Sonatas & partitas for solo violin, BWV 1001-1006. Grumiaux. Philips, 1961.

HIP:

VIII.IV. Sonatas & partitas for solo violin, BWV 1001-1006. S. Kuijken. Harmonia Mundi, 1983.
VIII.V. Sonatas & partitas for solo violin, BWV 1001-1006. van Dael. Naxos, 1996. 
VIII.VI. Sonatas & partitas for solo violin, BWV 1001-1006. Podger. Channel Classics, 2002.

NH:

VIII.VII. Cello suites, BWV 1007-1012. Casals. Naxos, 1936-9. 
VIII.VIII. Cello suites, BWV 1007-1012. Fournier. Archiv, 1961.

HIP:

VIII.IX. Cello suites, BWV 1007-1012. Bylsma. Seon, 1979.
VIII.X. Cello suites, BWV 1007-1012. Wispelwey. Evil Penguin, 2012.

VIII.XI. Six sonatas for violin & keyboard instrument, BWV 1014-1019. Szeryng, Walcha. Philips, 1969
VIII.XII. Six sonatas for violin & keyboard instrument, BWV 1014-1019. Grumiaux, Jaccottet, Mermoud. Philips, 1979
VIII.XIII. Six sonatas for violin & keyboard instrument, BWV 1014-1019. Manze, Egarr, Linden. Harmonia Mundi, 
2000

VIII.XIV. Sonatas for viola da gamba and keyboard instrument, BWV 1027-1029. Bylsma, Asperen. Vivarte, 1990.
VIII.XV. Sonatas for viola da gamba and keyboard instrument, BWV 1027-1029. Savall, Koopman. Alia Vox, 2000.

VIII.XVI. Sonatas for flute/recorder & harpsichord/basso continuo, BWV 1030-1035. Brüggen, van Dael, Leonhardt, 
Bylsma. Seon, 1976.
VIII.XVII. Sonatas for flute/recorder & harpsichord/basso continuo, BWV 1030-1035. Pahud, Pinnock. EMI, 2008.

VIII.XVIII. Trio sonatas, BWV 1036-1040. Goebel, Musica Antiqua Köln. Archiv, 1981.

IX. *Orchesterwerke* (Works for orchestra), BWV 1041-1071

IX.I. Violin concertos, BWV 1041-2, Double concerto, BWV 1043. Menuhin, Enescu. Naxos, 1933, 1936; 1932.
IX.II. Violin concertos, BWV 1041-2, Double concerto, BWV 1043. S. Kuijken, van Dael, La Petite Bande. DHM, 
1989.
IX.III. Violin concertos, BWV 1041-2; Double and triple concertos, BWV 1043-4, BWV 1060R, BWV 1064R; Violin 
concerto, BWV 1056; Concerto for flute, violin and harpsichord, BWV 1044. Wallfisch, Orchestra of the age of 
Enlightenment, Beznosiuk, Nicholson, Robson, Bury, Mackintosh. Virgin Veritas, 1999.
IX.IV. Double and triple concertos, BWV 1043-4, BWV 1060R, BWV 1064R. Podger, Brecon Baroque. Channel 
Classics, 2013.

IX.V. Brandenburg concertos, BWV 1046-1051. Goebel & Musica Antiqua Köln. Archiv, 1987.
IX.VII. Brandenburg concertos, BWV 1046-1051. Savall & Le concert des nations. Astrée Auvidis, 1991.
IX.VIII. Brandenburg concertos, BWV 1046-1051. Alessandrini & Concerto Italiano. Naïve, 2005.

IX.IX. Keyboard concertos, BWV 1052-1065. Pinnock, The English Concert, Kraemer, Gilbert, Mortensen. Archiv, 
1981.
IX.X. Keyboard concertos, BWV 1052-1065. Van Asperen, Melante Amsterdam. Virgin Classics, 1994. 
IX.XI. Keyboard concertos, BWV 1052-8. Perahia, Martin, Sillito, Academy of St. Martin in the Fields. Sony, 2003.

IX.XII. Oboe concertos, BWV 1053R, 1055R, 1059R. Holliger, Brown, Academy of St. Martin-in-the-Fields. Philips, 
1983.
IX.XIII Concerto in D-minor for Oboe and Violin, BWV 1060R, Grumiaux, Krebbers, Holliger, Gerecz, Les Solistes 
Romands. Decca, 1980.

IX.XIV. Orchestral Suites, BWV 1066-1069. Goebel, Musica Antiqua Köln. Archiv, 1986.
IX.XV. Orchestral Suites, BWV 1066-1069. Freiburg Barockorchester, Mullejans, Goltz. Harmonia Mundi, 2011.
IX.XVI. Orchestral Suite No. 3 in D-major, BWV 1068. Furtwangler, Menuhin. RIAS, 1948.

X. *Musikalisches Opfer, Kunst der Fuge *(Musical Offering, Art of the Fugue), BWV 1079-1080

X.I. Musikalisches Opfer, BWV 1079. Ensemble Sonnerie. Virgin, 1994.
X.II. Musikalisches Opfer, BWV 1079. Suzuki, Bach Collegium Japan. BIS, 2017.

X.III. Die Kunst der Fuge, BWV 1080. Goebel, Musica Antiqua Köln (orchestra). DG, 1984.
X.IV. Die Kunst der Fuge, BWV 1080. Kocsis (piano). Philips, 1984.
X.V. Die Kunst der Fuge, BWV 1080. Gilbert (harpsichord). Archiv, 1989.
X.VI. Die Kunst der Fuge, BWV 1080. Emerson string quartet (strings). DG, 2003.

*

Steady as you go


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## technijoker

This is my first post ... long time listener, first time caller

Was wondering what any y'all thought about João Carlos Martins ... I'm coming to the conviction that he's the best all-around interpreter of Bach on piano & I'm feeling a little lonely in this opinion. Before I was split between Gould and Schiff, obviously both are wonderful pianists, and Gould had a lot to give. But there's something really different from everybody else in Martins' style, something that for me combines a bit of the sanity of Schiff and the baroque discipline of Gould, invokes the feel of the clavier/harpsichord with more broad dynamics than Schiff's romantic mannerisms, and doesn't have-- what has come to feel like-- a cartoonish quality of being overthought on the behalf of Gould, however interesting the results. There's just something about Martins' more "jammy" feel that reminds me more of performances of Bach on harpsichord or clavier. Just my take in brief, I've been going through JCM's WTC 1 and 2, GV, and other things and comparing them with Schiff & Gould and it's been revelatory. Also, the guy's got a hell of a life story ... nice meeting you, Talk Classical


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## larold

Bach's Brandenburg and instrumental concertos, Art of Fugue, 4 Orchestral Suites, cello suites, Goldberg variations and 6 keyboard partitas are all masterpieces one must hear. However to know J.S. Bach you must know his sacred choral music and cantatas. I would start with these:

Cantatas *BWV 71, God Is My Sovereign*; *BWV 56, I Will Gladly Carry the Cross-staff*; and *BWV 78, Jesus Since Thou Hast Through Bitter Death *to give an idea of his link to God, Christ, the afterlife, and heaven. I like Helmuth Rilling best in these but any version will work as long as there is a translation so you know what's going on.

To know Bach best you must hear and understand the *St. Matthew Passion* which recites the Passion story -- Christ's persecution, arrest, crucifixion, resurrection and return to earth. It is heaven-sent music reciting a remarkable tale.

There are two English language versions, the best one in my opinion beautifully sung led by David Willcocks. This is a 3-CD set with text; downloads are also available and there was once a CD with a selection of highlights. Last I saw of that was from Discogs vendors. There is also a slice or two on YouTube and you can probably stream it at various places though that's a lot of music to rent for a single spin:


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## Mandryka

technijoker said:


> This is my first post ... long time listener, first time caller
> 
> Was wondering what any y'all thought about João Carlos Martins ... I'm coming to the conviction that he's the best all-around interpreter of Bach on piano & I'm feeling a little lonely in this opinion. Before I was split between Gould and Schiff, obviously both are wonderful pianists, and Gould had a lot to give. But there's something really different from everybody else in Martins' style, something that for me combines a bit of the sanity of Schiff and the baroque discipline of Gould, invokes the feel of the clavier/harpsichord with more broad dynamics than Schiff's romantic mannerisms, and doesn't have-- what has come to feel like-- a cartoonish quality of being overthought on the behalf of Gould, however interesting the results. There's just something about Martins' more "jammy" feel that reminds me more of performances of Bach on harpsichord or clavier. Just my take in brief, I've been going through JCM's WTC 1 and 2, GV, and other things and comparing them with Schiff & Gould and it's been revelatory. Also, the guy's got a hell of a life story ... nice meeting you, Talk Classical


Strangely enough I listened to Martins playing the toccata of the 6th partita recently. A recording from 1980 on a pretty ordinary sounding modern piano. I thought the rubato was really unnatural sounding, inflections which were neither expressive nor beautiful IMO.

What's his life story?


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## larold

_Was wondering what any y'all thought about João Carlos Martins _

I think he had a following when his recordings were new because of his individual style and as I recall his label released a lot of his Bach recordings simultaneously. I don't think he fame lasted long, however. Today's players that record the partitas are in the main virtuoso graduates of conservatories playing in rapid style to show off their digitation. Martins had some of that quality linked to an individuality that to me bordered on being wayward. It isn't my cup of tea but I don't think there's agreement that any one way of playing Bach is the only way. And Glenn Gould built a career and worldwide following from eccentricity.


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## Bulldog

technijoker said:


> This is my first post ... long time listener, first time caller
> 
> Was wondering what any y'all thought about João Carlos Martins ... I'm coming to the conviction that he's the best all-around interpreter of Bach on piano & I'm feeling a little lonely in this opinion. Before I was split between Gould and Schiff, obviously both are wonderful pianists, and Gould had a lot to give. But there's something really different from everybody else in Martins' style, something that for me combines a bit of the sanity of Schiff and the baroque discipline of Gould, invokes the feel of the clavier/harpsichord with more broad dynamics than Schiff's romantic mannerisms, and doesn't have-- what has come to feel like-- a cartoonish quality of being overthought on the behalf of Gould, however interesting the results. There's just something about Martins' more "jammy" feel that reminds me more of performances of Bach on harpsichord or clavier. Just my take in brief, I've been going through JCM's WTC 1 and 2, GV, and other things and comparing them with Schiff & Gould and it's been revelatory. Also, the guy's got a hell of a life story ... nice meeting you, Talk Classical


I've always thought well of Martin's Bach. I find him quite expressive without going over my boundaries. There's a nice flow to his music-making, and he brings out the beauty of Bach's music. However, he's really slow and likes hushed tones; there are times when I find it irritating.


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## Sad Al

Bach is an ocean of bliss. Here are my 2 cents:
1) I. Kantaten (Cantatas), BWV 1–224
"As a beginner avoid 'complete sets' like the ones by Harnoncourt/Leonhardt..." no no no. Instead, get the Harnoncourt/Leonhardt set. It isn't expensive nowadays and it's good.
2) Sonatas and partitas for violin – Ibragimova is good. She never spills a drop. I like also Uto Ughi who's quite different
3) Partitas for harpsichord: Scott Ross. He knew he could play, and he could play.
4) Cello sonatas and partitas: Mischa Maisky's 2nd recording on DG. Is there anything better?
5) Organ works. Get Hubert Meister's recent double CD. Wonderful playing on Mathis organ. Actually, it rips your ears. Then get Meister's trio sonatas or John Butt's trio sonatas or Holm Vogel's trio sonatas
6) Well tempered clavier (2 books) - Keith Jarrett is ok. Some like it hot but no one's perfect. Friedrich Gulda is interesting too,
7) Goldberg variations: Ross was best.

Although I am not a trained musician, I have listened to Bach since c. 1978. So I may know something


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## Simplicissimus

I'm coming into this very late in the game, but I cannot resist putting in a plug for one of the gems of my CD collection: The two 1983 single-disc Erato issues of Ton Koopman and the Amsterdam Baroque Orchestra performing the six Brandenburg Concerti plus the Triple Concerto (BMV 1044) and the Organ Concerto (BMV 1059). I bought these 25 years ago.

To me, the Brandenburg Concerti are a great starting point for Bach and I keep coming back to them. Back in the day when I played recorders with a Collegium Musicum, we especially liked to rehearse and perform these. Ton Koopman is my favorite harpsichordist and organist. His harpsichord solo near the end of the first movement of Concerto No. 5 (BMV 1050) is just... wow. I like to imagine that it would have pleased Herr Bach very much.


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## Bulldog

Sad Al said:


> Although I am not a trained musician, I have listened to Bach since c. 1978. So I may know something


Let's have a contest! I've been listening to Bach since 1953.

By the way, I agree with you about Scott Ross. No harpsichordist is better with Bach.


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## Taplow

The cantata BWV170, "Vergnügte Ruh" from this recording …










It is without doubt one of my desert island discs. Andreas Scholl at the peak of his voice, and Herreweghe masterfully matching the musical mood.


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## premont

Bulldog said:


> Let's have a contest! I've been listening to Bach since 1953.


Ooh, I have listened to Bach since 1952.


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## Allegro Con Brio

I've been listening since 2018:lol: Still, since then, Bach has been nothing less than an obsession for me. In that time frame, I've probably heard more Bach recordings than most people do in 10 years. For me, the music of this great master serves the art of varying interpretations like no other, and I don't think I'll ever discover a "definitive" version of anything. I see that as a good thing This is my working list of very special, cream of the crop recordings I think everyone needs to hear spanning a wide range of eras and performance practices:

Cantatas: Suzuki
Ich Habe Genug: Hotter
Mass in B Minor: Klemperer, Suzuki, Karajan '51
St. Matthew: Jochum, Bernstein (cut), Mengelberg (cut)
Magnificat: Marriner
Brandenburgs: Britten, Casals
Orchestral Suites: Busch
Cello Suites: Casals, Bylsma, Kirshbaum
Solo Violin: Enescu, Ehnes
Goldbergs: Tureck stereo, Kempff, Gould '81
WTC: Crossland, Landowska, Feinberg
English Suites: Schiff, Pogorelich (selected)
Keyboard Partitas: Levit
Partita No. 1: Lipatti
AoF: Canadian Brass, Walcha
Passacaglia and Fugue: Richter
Violin concerti: Menuhin/Monteux

BUT for those who are new to Bach or are trying to understand him, I would recommend the following:

Mass in B Minor: Eby/Drottingholm Baroque Orchestra; Marriner (sadly OOP)
St. Matthew: Harnoncourt (if you like HIP; otherwise Jochum is tops for me)
Brandenburgs: Pinnock
Orchestral Suites: Savall
Cello Suites: Starker, Ma (any of their versions are great for learning the music)
Solo Violin: Grumiaux, Podger
Goldbergs: Schiff, Rana
WTC: Schiff, Aimard
French and English Suites: Gould
Keyboard Partitas: Schepkin
AoF and Musical Offering: Marriner
Organ works: Biggs, Suzuki
Keyboard concerti: Perahia, Pinnock

Alright, maybe that's too much for a beginner. If you're brand new to Bach, I suggest you hear three things: Naxos's album of Oboe Concerti, any good recording of the 2nd Violin Concerto, and the Schiff WTC. Enjoy!

Feel free to disagree!


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## Bulldog

Allegro Con Brio said:


> I've been listening since 2018:lol: Still, since then, Bach has been nothing less than an obsession for me. In that time frame, I've probably heard more Bach recordings than most people do in 10 years. For me, the music of this great master serves the art of varying interpretations like no other, and I don't think I'll ever discover a "definitive" version of anything. I see that as a good thing This is my working list of very special, cream of the crop recordings I think everyone needs to hear spanning a wide range of eras and performance practices:
> 
> Cantatas: Suzuki
> Ich Habe Genug: Hotter
> Mass in B Minor: Klemperer, Suzuki, Karajan '51
> St. Matthew: Jochum, Bernstein (cut), Mengelberg (cut)
> Magnificat: Marriner
> Brandenburgs: Britten, Casals
> Orchestral Suites: Busch
> Cello Suites: Casals, Bylsma, Kirshbaum
> Solo Violin: Enescu, Ehnes
> Goldbergs: Tureck stereo, Kempff, Gould '81
> WTC: Crossland, Landowska, Feinberg
> English Suites: Schiff, Pogorelich (selected)
> Keyboard Partitas: Levit
> Partita No. 1: Lipatti
> AoF: Canadian Brass, Walcha
> Passacaglia and Fugue: Richter
> Violin concerti: Menuhin/Monteux
> 
> BUT for those who are new to Bach or are trying to understand him, I would recommend the following:
> 
> Mass in B Minor: Eby/Drottingholm Baroque Orchestra; Marriner (sadly OOP)
> St. Matthew: Harnoncourt (if you like HIP; otherwise Jochum is tops for me)
> Brandenburgs: Pinnock
> Orchestral Suites: Savall
> Cello Suites: Starker, Ma (any of their versions are great for learning the music)
> Solo Violin: Grumiaux, Podger
> Goldbergs: Schiff, Rana
> WTC: Schiff, Aimard
> French and English Suites: Gould
> Keyboard Partitas: Schepkin
> AoF and Musical Offering: Marriner
> Organ works: Biggs, Suzuki
> Keyboard concerti: Perahia, Pinnock
> 
> Alright, maybe that's too much for a beginner. If you're brand new to Bach, I suggest you hear three things: Naxos's album of Oboe Concerti, any good recording of the 2nd Violin Concerto, and the Schiff WTC. Enjoy!
> 
> Feel free to disagree!


Well, it's your list and reflects your musical preferences. Based on my preferences, I'd say you are all loaded up on non-hip recordings; I'd load up on the other end. Also, you're all piano for Bach's solo keyboard music, even for newbie recommendations.


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## Allegro Con Brio

Bulldog said:


> Well, it's your list and reflects your musical preferences. Based on my preferences, I'd say you are all loaded up on non-hip recordings; I'd load up on the other end. Also, you're all piano for Bach's solo keyboard music, even for newbie recommendations.


I don't usually think about modern vs. HIP when evaluating a recording, but I admit that I have enjoyed more modern performances than HIP, even though there are many of the latter that I love (the recordings of Pinnock, Savall, Bylsma, Podger, and Suzuki are some of my favorites). Regardless of performance style, I really only look for one thing - heart and soul. And the sound of the solo harpsichord reminds me of when I leave my keys in my pants pocket and put them in the dryer, so just a personal limitation there.


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## tdc

Personally I find something lacking in Scott Ross Bach. It is ok and certainly well executed but somehow a little dry perhaps? He doesn't capture the essence of the music well in my view. Gilbert, Belder, Van Asperen and Schornsheim are some of the harpsichordists I prefer to Ross in Bach.

This said I very much like Scott Ross's D Scarlatti.


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## Mandryka

tdc said:


> Personally I find something lacking in Scott Ross Bach. It is ok and certainly well executed but somehow a little dry perhaps? He doesn't capture the essence of the music well in my view. Gilbert, Belder, Van Asperen and Schornsheim are some of the harpsichordists I prefer to Ross in Bach.
> 
> This said I very much like Scott Ross's D Scarlatti.


I wonder if Ross learned his style from Kenneth Gilbert, or vice versa.


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## premont

Mandryka said:


> I wonder if Ross learned his style from Kenneth Gilbert, or vice versa.


Do you think they have that much in common?


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## Mandryka

premont said:


> Do you think they have that much in common?


Classicism. All the voices in line, a more or less regular beat. And a sense of energy and extroversion rather than inwardness.


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## tdc

Mandryka said:


> Classicism. All the voices in line, a more or less regular beat. And a sense of energy and extroversion rather than inwardness.


You are right that there are similarities between the two, however for me I find a sense of forward momentum and a certain intensity in Gilbert's playing, that for me creates a sense of depth. I don't hear this in Ross. The latter seems somehow more static to my ears.


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## premont

Mandryka said:


> Classicism. All the voices in line, a more or less regular beat. And a sense of energy and extroversion rather than inwardness.


This is the prevailing style of the so called pre-authentic era. I could point to Martin Galling, Karl Richter, Hans Pischner and Ralph Kirkpatrick. In this respect Ross is somewhat old-fashioned. But I think Gilbert is much more informed, introvert and concerned with the beauty of the music.


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## Mandryka

premont said:


> This is the prevailing style of the so called pre-authentic era. I could point to Martin Galling, Karl Richter, Hans Pischner and Ralph Kirkpatrick. In this respect Ross is somewhat old-fashioned. But I think Gilbert is much more informed, introvert and concerned with the beauty of the music.


I want to think about this some more, I'll be back!


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## Sad Al

Check out how Ross plays Partita No. 3 in A Minor, BWV 827. It's wonderful! It's a pity that he didn't record the Art of Fugue or French and English suites. But Alan Curtis was very good in French and English suites. I recommend Robert Hill's recording of the Art of Fugue. These are all on harpsichord. Troeger's recording of the Art of Fugue is also excellent, but I prefer harpsichord to clavichord. Ross's WTC is excellent, although his harpsichord may have been badly tempered, i.e. out of tune.
Ketil Haugsand is also good (as you can see, I'm so stupid that I even don't know how to post links):
https://www.youtube.com/playlist?list=OLAK5uy_kC9w-UGSZj-IjotbhvscsPsb0rT8QPRW0

I think these records by Ross, Curtis, Hill and Haugsand contain most of Bach's keyboard music, excluding the keyboard concertos. I like those 1980s piano records that Andrei Gavrilov recorded with Neville Marriner on EMI.


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## Mandryka

Sad Al said:


> Check out how Ross plays Partita No. 3 in A Minor, BWV 827. It's wonderful! It's a pity that he didn't record the Art of Fugue or French and English suites. But Alan Curtis was very good in French and English suites. I recommend Robert Hill's recording of the Art of Fugue. These are all on harpsichord. Troeger's recording of the Art of Fugue is also excellent, but I prefer harpsichord to clavichord. Ross's WTC is excellent, although his harpsichord may have been badly tempered, i.e. out of tune.


I've heard it said that he recorded all 6 partitas in one go over one night, like Rubsam in the Trio Sonatas at Groningen. The problem is that they're a bit tough sounding, it's the harpsichord he chose partly, and partly the way he articulates. There's not much tenderness.


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## Sad Al

premont said:


> Ooh, I have listened to Bach since 1952.


You must be Egyptian


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## premont

Sad Al said:


> You must be Egyptian


No, but this was the year I began to get piano instruction. My teacher loved Bach's music and played much Bach for me after the lessons.


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## Jacck

Sad Al said:


> Check out how Ross plays Partita No. 3 in A Minor, BWV 827. It's wonderful! It's a pity that he didn't record the Art of Fugue or French and English suites. But Alan Curtis was very good in French and English suites. I recommend Robert Hill's recording of the Art of Fugue. These are all on harpsichord. Troeger's recording of the Art of Fugue is also excellent, but I prefer harpsichord to clavichord. Ross's WTC is excellent, although his harpsichord may have been badly tempered, i.e. out of tune.
> Ketil Haugsand is also good (as you can see, I'm so stupid that I even don't know how to post links):
> https://www.youtube.com/playlist?list=OLAK5uy_kC9w-UGSZj-IjotbhvscsPsb0rT8QPRW0
> 
> I think these records by Ross, Curtis, Hill and Haugsand contain most of Bach's keyboard music, excluding the keyboard concertos. I like those 1980s piano records that Andrei Gavrilov recorded with Neville Marriner on EMI.


I listened to it and disliked it. He plays it too fast and not articulate enough. I am very familiar with the partitas, since I have them in my car (piano, Perahia) and play them often, so I heard them maybe 50 times.


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## premont

Sad Al said:


> But Alan Curtis was very good in French and English suites.


As well as in everything else he touched.



Sad Al said:


> I recommend Robert Hill's recording of the Art of Fugue.


Brilliant, but a bit too relentless to my taste.



Sad Al said:


> Ross's WTC is excellent, although his harpsichord may have been badly tempered, i.e. out of tune.


Are you sure that he didn't tune it in the way he thought was well-tempered. He may in some respects have been visionary. To day almost everyone tunes according to his own taste..


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## Enthusiast

My parents were listening to Bach in the 1930s and passed it on to me genetically. For my own ears Bach was the first music I responded to and asked for ... and the age of 18 months (so 1956).


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## Mandryka

Jacck said:


> I listened to it and disliked it. He plays it too fast and not articulate enough. I am very familiar with the partitas, since I have them in my car (piano, Perahia) and play them often, so I heard them maybe 50 times.


He's certainly fast in the allemande, but I think it's quite exhilerating. I wish he'd have chosen a different type of harpsichord, one with a stronger bass. That would help in the contrapuntal music, it would give it more relief.


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## Jacck

Mandryka said:


> He's certainly fast in the allemande, but I think it's quite exhilerating. I wish he'd have chosen a different type of harpsichord, one with a stronger bass. That would help in the contrapuntal music, it would give it more relief.


true with the stronger bass. I was primed on the piano, where you can hear both of the hands quite clearly and follow the counterpoint, but here I have the feeling that the right hand is dominant, and the bass is barely distinguishable at times. That is likely one of the reason I liked it less. And Perahia also plays it more slowly.


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## Mandryka

Jacck said:


> true with the stronger bass. I was primed on the piano, where you can hear both of the hands quite clearly and follow the counterpoint, but here I have the feeling that the right hand is dominant, and the bass is barely distinguishable at times. That is likely one of the reason I liked it less. And Perahia also plays it more slowly.


Yes. French harpsichord I think, not a good choice.


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## premont

Mandryka said:


> Yes. French harpsichord I think, not a good choice.


Yes, indeed anachronistic. This is my only quibble with Gilbert. I think the number of those thinking a late French Baroque harpsichord is ideal for Bach is declining.


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## Sad Al

Guillot's WTC2 sounds sweet and easy on the ear after a rough day. He plays a modern Italian copy of a French 1733 Blanchet.


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## Bulldog

Sad Al said:


> Guillot's WTC2 sounds sweet and easy on the ear after a rough day. He plays a modern Italian copy of a French 1733 Blanchet.


I'm familiar with Guillot's Art of Fugue on Naxos but wasn't aware of his WTC II on Saphir. I listened to it on Youtube and was impressed. I could easily listen to 4 hours in a row of Guillot's Bach.

Thanks for your Guillot posting.


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## Mandryka

The Guillot WTC 2 seems in a very similar style to the AoF to me.


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## tdc

I could only find the Guillot AoF on youtube but it sounds very good I think. Also, I agree with the above comments regarding Alan Curtis.


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## Sad Al

Please forgive some bad posts of mine – too much vodka did my talking – whisky does it now. I'm listening to late Bohdan Warchal's Brandenburg concertos with Capella Istropolitana, a Slovakian combo. This is a very early Naxos recording (1987). I find it excellent. If you like your Brandenburgs slow, old-fashioned, metronomical and beautiful, this is it. Soon after these interesting recordings, Bohdan recorded Handel's Water Music and Fireworks music, which CD is also very fine.


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## DavidA

Remember hearing this girl holding the Albert Hall enraptured with the solo violin one night. You might not manage all the unaccompanied violin stuff but try this. I believe it was Brahms who said if he ever even dreamed of writing anything as good he would have died of happiness


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## Simplicissimus

larold said:


> Bach's Brandenburg and instrumental concertos, Art of Fugue, 4 Orchestral Suites, cello suites, Goldberg variations and 6 keyboard partitas are all masterpieces one must hear. However to know J.S. Bach you must know his sacred choral music and cantatas. I would start with these:
> 
> Cantatas *BWV 71, God Is My Sovereign*; *BWV 56, I Will Gladly Carry the Cross-staff*; and *BWV 78, Jesus Since Thou Hast Through Bitter Death *to give an idea of his link to God, Christ, the afterlife, and heaven. I like Helmuth Rilling best in these but any version will work as long as there is a translation so you know what's going on.
> 
> To know Bach best you must hear and understand the *St. Matthew Passion* which recites the Passion story -- Christ's persecution, arrest, crucifixion, resurrection and return to earth. It is heaven-sent music reciting a remarkable tale.
> 
> There are two English language versions, the best one in my opinion beautifully sung led by David Willcocks. This is a 3-CD set with text; downloads are also available and there was once a CD with a selection of highlights. Last I saw of that was from Discogs vendors. There is also a slice or two on YouTube and you can probably stream it at various places though that's a lot of music to rent for a single spin:
> 
> View attachment 129785


I agree with you about the St. Matthew Passion. I've heard several versions but not the one you cite -- I look forward to hearing it. If you like a version that's HIP, in German, has big names, and has an open, airy ambiance and vast sound stage, then may I recommend John Eliot Gardiner/English Baroque Soloists, 1989, Deutsche Grammophon. Barbara Bonney and Anne Sofie von Otter are among the vocal soloists.


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## doors1991

Never too late 

art of the fugue - Emerson
Brandenburg Concertos - Trevor Pinnock
cantatas - Karl Richter or Gardiner
cello suites - Fournier,Heinrich Schiff,Isserlis,Janos Starker,Rostropovich
English Suites - Murray Perahia
Flute Sonatas - Emmanuel Pahud & Trevor Pinnock
Goldberg Variations - M. Perahia or Glenn Gould
Johannes Passion - Gardiner,John Butt,Suzuki
Keyboard Concertos - Murray Perahia
Magnificat BWV 243 - Pierlot
Mass in B minor - Philippe Herreweghe,Gardiner,Klemperer
Motetes - Gardiner
Orchestral Suites - Neville Marriner 
Partitas (piano) - Perahia
Sonatas and Partitas for Solo Violin - Grumiaux
Sonatas for Violin and Obbligato Harpsichord - Rachel Podger, Trevor Pinnock
St. Matthew Passion - Gardiner,Philippe Herreweghe
The Complete Organ Music - Christopher Herrick
The Well-Tempered Clavier - Schiff
Triple Concerto - Pinnock
Violin Concertos - David Oistrach


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## Guest002

My turn:

Cantatas: Masaaki Suzuki, no question (apart from the questions of others!)
Goldberg Vairations: Murray Perahia 
Well-Tempered Clavier: Andras Schiff for piano; Masaaki Suzuki for harpsichord
St. John Passion: Peter Dijkstra, Concerto Köln; or Benjamin Britten if you want an English-language version
St. Matthew Passion: Masaaki Suzuki in his 2019 recording (not his 1999 recording)
Organ: Anything with John Butt playing
Magnificat BWV 243: Karl-Friedrich Beringer & the Prague Chamber Orchestra
Cello Suites: David Watkin
Brandenburg Concertos: Rinaldo Alessandrini and the Concerto Italiano
Violin Concerti: Cecilia Bernardini, Dunedin Consort conducted by John Butt
Orchestral Suites: Masaaki Suzuki
Keyboard Concerti: Andras Schiff


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## consuono

For the flute sonatas I would recommend the Elaine Shaffer recordings with the awesome continuo duo of George Malcolm and Ambrose Gauntlett. I think that, for whatever reason, these were released only on vinyl. From whatever source, look for them.


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## Eclectic Al

Pinnock for harpsichord concertos.
Hurford for organ.
What does anyone think about Angela Hewitt's performances? I have her earlier WTC and her AOF, and like those. Generally, though, I like Perahia's Bach.


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## consuono

> What does anyone think about Angela Hewitt's performances?


I think her playing is as bland as Gould's was quirky. As far as piano goes I prefer Tureck, Schiff and Perahia also.

PS...for the choral works I would suggest not being rigidly HIP, which has become almost cult-like. My favorite recordings are from Richter and Rilling. From the HIP side there are some good ones from Gardiner and Suzuki, but I'm not a HIP fan in general.


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## caracalla

Eclectic Al said:


> Hurford for organ.


Usually my first choice too. Not for everything, but who is?


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## Bulldog

Eclectic Al said:


> What does anyone think about Angela Hewitt's performances? I have her earlier WTC and her AOF, and like those. Generally, though, I like Perahia's Bach.


She's fairly good in Bach, perhaps in the top half of pianists. I prefer her to Perahia, but I don't consider her special.


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## consuono

caracalla said:


> Usually my first choice too. Not for everything, but who is?


Marie-Claire Alain, of course.


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## caracalla

consuono said:


> Marie-Claire Alain, of course.


Yes, she's the one I would most often pit against Hurford and sometimes she wins. Her Dorian T&F (2nd version on the Sankt Nikolai organ at Kolding) is particularly fine. In my book, no one tops Chorzempa in the Trio Sonatas though.

Of course the instrument and acoustic/recording are also key factors, and taste in these matters is hardly uniform.


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## Eclectic Al

consuono said:


> I think her playing is as bland as Gould's was quirky.


I think I bought her WTC because I really only had listened to Schiff much, and felt the need for a change. I wish Perahia would do that. I quite like Hewitt's WTC (as I said), and it was quite cheap , because she's got a later recording to push (I guess).

On Gould, I have listened to the 1st prelude from Book 1 on Spotify a few times, and given up quickly feeling quite angry. That simply sounds like an insult to the music: one of those, I'm going to make it about me performances. I generally don't like Gould because I don't like people having a chat with themselves while they're performing.


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## Guest

Eventually which right interpreter of J.S.Bach ? 
(Right, not talented) .

My test is BWV 847 (Prelude 2 C minor) : 
if not played at right speed and rigidity, this galvanizing thunderstorm of 2 minutes is a boring stagnation.
Almost all its records hanging around on Youtube are bad : too slow, too quick, too tender, too irregular, …
( I own a right one, but the player is not identified !! )


Please correct my approximate English


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## RedRaider

If anybody has any good recommendations for recordings of a short Bach piece called Chorale and Minuet... 
....I'm all ears!!!


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## milk

I don’t really get the way “modern” vs. “period” is thought of in this thread. I think the majority of piano recordings ever made of Bach’s solo keyboard music represent a very outdated conception of Bach; they’re certainly not “modern.” I think the last couple of decades brought along “period” recordings of Bach’s keyboard compositions that are less “old fashioned” sounding than most of what came before - over the previous sixty years or so. That’s just my impression. Some people seem to think period recordings are about what’s “correct.” Honestly, I can’t imagine ANY musician espousing or justifying such a view. I think that’s just a misunderstanding of what HIP is. Worse still, some have this stereotype that period instrumentalists are producing something stodgy whereas I think a lot of the “great” piano recordings are often stuffy and/or just outdated. They’re certainly not more expressive. 
This may sound like I’m contradicting myself but I think you have to start with Leonhardt to appreciate what’s been happening in the performance of Bach’s keyboard works in the “modern” age. 
This is not to say that I dislike pianists or even something old-fashioned. I’m sure Feinberg is old-fashioned but his playing is quite rewarding. 
There’s are just so many exciting recent (encompassing the last couple of decades or so) presentations of the Well Tempered Clavier. These are on harpsichord mostly.


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## Doctor Fuse

The Solo Violin Sonatas and Partitas, in vinyl boxed sets by Szeryng and Milstein, and both on DGG, are both excellent examples of the now-old school of violin playing. Or perhaps these are examples of the beginning of the new school?


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## Rogerx

Bach, The Art of Fugue, BWV1080

Emerson String Quartet

A must have.


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