Something for a Friday: All of Bach

[ferneyhoughgeliebte]

Erm - nothing new for this week yet, it seems.

I played the Matthew Passion today, so I haven't been deprived personally, but ...

[Edgy 2]

Looks like. I was a bit concerned when this started, but the "archive" is now already so huge (and full of so many wonderful performances) that it's a pleasure to hear them again.

It's a fantastic project - many thanks to Hitch for starting it off on the Forum.

Hear hear,and the usual thanks to you ferney

[ferneyhoughgeliebte]

Thanks, ferney. So the pattern now seems to be a new recording every two weeks.

Looks like. I was a bit concerned when this started, but the "archive" is now already so huge (and full of so many wonderful performances) that it's a pleasure to hear them again.

It's a fantastic project - many thanks to Hitch for starting it off on the Forum.

[hmvman]

Thanks, ferney. So the pattern now seems to be a new recording every two weeks.

[ferneyhoughgeliebte]

"Der Geist hilft unsrer Schwachheit auf", Motet BWV 226

"The spirit helps us in our weakness"; a repeat showing of a video first published on AoB nearly two years ago. Double Choir (4,3,3,3 X 2) with instrumental ensemble, all conducted by Stephan MacLeod.

http://allofbach.com/en/bwv/bwv-226/

[Edgy 2]

Thanks ferney as always.
Lovely view of the car park

[Padraig]

The twentieth pair from Book One of "The 48", played by Olga Pashchenko on her "after Silbermann" harpsichord from her own home in Utrecht.

This one - or these two? - I remember reasonably well, which is always a good start!
I like the ordinariness of the video: at home practising Bach with a familiar view of the street outside, lush settings and furnishings, though appreciated, not necessary for an enjoyable performance like this one. I wonder if this is the point that is sometimes made to put forward the view that classical music is too often seen as elitist? Just wondering.

[ferneyhoughgeliebte]

Prelude & Fugue in a minor, BWV 865

The twentieth pair from Book One of "The 48", played by Olga Pashchenko on her "after Silbermann" harpsichord from her own home in Utrecht. A newly-published video, recorded 13 months ago.

http://allofbach.com/en/bwv/bwv-865/

[Padraig]

Great performance as usual from these players. I never thought of 'squeezing' as a problem ferney - rather as a boost to the energy of the group; perhaps a device to concentrate attention, or even an in-joke between performers. I love watching them at work.

[Edgy 2]

No, it's not you, Edgey - it's what I meant by "squeezing"; I didn't like it at all when the video first appeared (and I'd noticed it in other performances by Shunske) but it's starting to bother me less now I'm getting used to it (like hmvman, I really enjoyed the performance - and so did the players: just look at their expressions as they play! They're having the times of their lives!! )

Ah right,well those were the only instances that jarred with me and yes I really enjoyed the performance too.

[ferneyhoughgeliebte]

In the solo part at 00:45 it sounds a bit awkward,almost as if a note has been missed,or is it me ?.The same passage,around 6:06 doesn't sound quite as bad but still not right,or is that me as well ?

No, it's not you, Edgey - it's what I meant by "squeezing"; I didn't like it at all when the video first appeared (and I'd noticed it in other performances by Shunske) but it's starting to bother me less now I'm getting used to it (like hmvman, I really enjoyed the performance - and so did the players: just look at their expressions as they play! They're having the times of their lives!! )

[Edgy 2]

I did wonder for a moment or two why the Harpsichord had stacks of plates painted on its case.

Thanks as always ferney.

In the solo part at 00:45 it sounds a bit awkward,almost as if a note has been missed,or is it me ?.The same passage,around 6:06 doesn't sound quite as bad but still not right,or is that me as well ?

[hmvman]

I used not to like Shunske's "squeezing" of phrases - the little pauses and hesitations at the beginnings and endings of phrases seemed to me to trip up the "drive" of the Music - but they're beginning to grow on me, and I'm starting to enjoy this "teasing" with the momentum (and with my expectations of it). And I find totally contagious the sheer enjoyment that the performers are obviously experiencing. Magnificent overview of the whole work, too - the way the Music halts in its exuberance at the "Cadenza" about five minutes into the first movement, and we're suddenly in a very different environment, and how this sets a tone for the second movement to explore more fully. Great stuff - and with the recent Isabelle Faust recordings frsh in my memory, just showing yet again how very different performances of such a work can be equally "right".

I tend to agree with you about the 'squeezing' of phrases but it didn't jar too much in this performance which I really enjoyed. I'm not usually a fan of one instrument (or voice) per part but this performance made as convincing a case for it as I've ever heard.

I think I might've missed this one back in 2015 so it's good to have it repeated

[ferneyhoughgeliebte]

I did wonder for a moment or two why the Harpsichord had stacks of plates painted on its case.

[ferneyhoughgeliebte]

Violin Concerto in E, BWV 1042

A repeat of a video first published as a (perfect) Christmas present on 25th December, 2015, and recorded in the Felix Meritis building in Amsterdam in May of that year. Shunske Sato is the soloist, with a "One Viol per Part" sextet from the Netherlands Bach Society ensemble.

http://allofbach.com/en/bwv/bwv-1042/

I used not to like Shunske's "squeezing" of phrases - the little pauses and hesitations at the beginnings and endings of phrases seemed to me to trip up the "drive" of the Music - but they're beginning to grow on me, and I'm starting to enjoy this "teasing" with the momentum (and with my expectations of it). And I find totally contagious the sheer enjoyment that the performers are obviously experiencing. Magnificent overview of the whole work, too - the way the Music halts in its exuberance at the "Cadenza" about five minutes into the first movement, and we're suddenly in a very different environment, and how this sets a tone for the second movement to explore more fully. Great stuff - and with the recent Isabelle Faust recordings frsh in my memory, just showing yet again how very different performances of such a work can be equally "right".