It's not a personal favorite, but that's of no concern. 1 is among the longest of the concertos, and Bach arranged it for the biggest number of players. In 1719 Margrave Christian Ludwig of Brandenburg commissioned Bach to write several musical works for him, and what he got a couple of years later was a collection of concertos for various-sized ensembles and various solo instruments that Bach had probably written earlier for various other occasions. Florilegium regularly collaborate with some of the world's finest musicians including Dame Emma Kirkby, Robin Blaze and Elin Manahan Thomas." What more, "Florilegium's recordings for Channel Classics have been awarded many prizes including a Gramophone Award nomination, Editor's Choice from Gramophone, Diapasons d'Or and Chocs de la Musique." Let it suffice that they are quite good at what they do.Īnyhow, as you know, Bach's six Brandenburg Concertos sound different from one another because the composer never meant them as a single, unified group. Since their formation in 1991 they have established a reputation for stylish and exciting interpretations, from intimate chamber works to large-scale orchestral and choral repertoire. ![]() In the event you're unfamiliar with Florilegium, according to their Web site, they are "one of Britain's most outstanding period instrument ensembles. So, today we can choose from among any number of great period-instrument recordings like those from Trevor Pinnock and his handpicked Baroque Ensemble (Avie), Pinnock's earlier recording with the English Concert (DG), Jeanne Lamon's with Tafelmusik (Tafelmusik or Sony), Jeannette Sorrell's with Apollo's Fire (Avie), Jordi Savall's (Astree), Gustav Leonhardt's (Sony), the Freiburger Barockorchester's (Harmonia Mundi), and many others. Not only do we have recent recordings of old favorites such as this release of Bach's Brandenburg Concertos from the period-instrument ensemble Florilegium, but we have everything available that people recorded before it and what we can't buy new, we can easily find used via the Internet. The nice thing about the years passing is that music lovers have more to choose from than ever before. Channel Classics CCS SA 35914 (2-disc set). Anyone who already owns the earlier recordings may feel this attempt is "gilding the lily," but Pinnock's second traversal of the Brandenburgs is definitely worth hearing, and is highly recommended to others who need a terrific version, by any standard.Florilegium. Yet in terms of expression, this set may seem a little richer, warmer, and a bit more relaxed than its predecessor, and the ensemble's presence is almost palpable in the close-up, highly detailed reproduction. Yet to most listeners, these performances won't sound experimental or daring, since the changes are wholly appropriate to the Baroque era, when instrumentation and other practices varied in almost every performance. To the trained ear, these concertos have a slightly darker coloration, due to the tuning at A415, and some experts may detect where the high- or low-tone violones are used in substitution for the standard cello or double bass. ![]() ![]() On this exquisite set, released by Avie - a label that lets its artists take creative risks that many major labels won't - Pinnock explores the Brandenburgs with considerable freedom and inventiveness, particularly in adjusting the size of his ensemble according to acoustical needs, and in his employment of musicians from several different countries and performing backgrounds. Allowing for certain variables of interpretation and execution between the two versions, which should be expected at a remove of 25 years, one can still expect Pinnock to turn in elegant period readings that don't diverge too dramatically from his earlier recordings on Archiv. Bach's Brandenburg Concertos to near perfection with the English Concert in 1982, it might seem redundant for Trevor Pinnock to try his hand at them again in this 2007 set with the European Brandenburg Ensemble.
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