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Free sheet music. All ▾ Bach, Johann Sebastian: Aria - Suite no. 3 in D Air - Suite n? 3 en R? Majeur Johann Sebastian Bach. LIKE 3.
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Bach took a lot of care over their reworking; and Hewitt and Co do likewise over their re-creation. A superb pair of discs. If they had wanted to be pedantically completist about it, we would have the Fifth Brandenburg and the Triple Concerto; instead we get the three known violin concertos plus the three most convincing reconstructions from harpsichord concertos, supplemented by a reconstruction of the putative early violin version of the B minor Flute Suite, and all neatly interspersed with arrangements of two of the organ sonatas and a clutch of cantata sinfonias including the rarely heard, trumpet-and-drum-laden BWV, a violin concerto movement of some flashiness.
Everything here is energy, though the exuberance is of the grounded kind that never gets out of hand. From her Stainer she produces a sound that is period-instrument clean even at times a little wiry , but can summon warmth of tone and tonal strength when she wants. In short, without being tempted to eccentricity, these performances reveal keen musical minds constantly at work. The deeper delight of it all is that you can encounter subtle new aspects in the familiar works — the E major Concerto intimate, even a little withdrawn, the slow movement of the A minor given a lightly pulsing, march-like momentum — and real revelations in the lesser-known ones.
This is a hugely enjoyable celebration of Bach — himself a violinist — which conjures not so much the strict contrapuntal and formal genius as the joyous spirit of the living man.
Air on the G String
Lindsay Kemp April How far we have come in blurring the boundaries of previously polarised Baroque performing traditions. A somewhat hearty, even bullish, onslaught by Ibragimova rather misses the point in the opening movement — even if the clear springs of intrinsic radiance are, however, restored later in the work. Her tendency to push the tempo contributes to the fireworks in the outer movements: an admirable riposte to the tyranny of the metronome! This is an outstanding and distinctive addition to a catalogue bursting at the seams. The spirit of Prades and Marlboro is here revisited, with Murray Perahia first among equals and the whole production infused with a sense of spontaneous musical interplay.
The sense of engagement is infectious. There are, in a sense, two Perahias at work here: the first a non-percussive front-man whose evenly deployed runs are a joy, unlike some who more approximate a hard stick being drawn past iron railings. Superb solo playing, too, flautist Jaime Martin producing a memorably plangent tone.
Even when judged in relation to other top-ranking piano recordings of Bach among the most recent, Goode, Hewitt, Schiff and Anderszewski this CD strikes me as exceptional. The recorded sound is full and forward. Do you go for a radical interpretation set to make people jump, laugh or recoil in surprise?
Or do you perform them more or less as other good performers have but just try to do it better? Rinaldo Alessandrini and Concerto Italiano have gone for the latter approach and succeeded brilliantly. There is perhaps no Baroque group around today that can do the simple and obvious things to such exciting effect. Equally enlivening is a tight attention to articulative detail and tasteful ornamentation which keeps the music bouyant and forward-moving at all times. Technically, things are not always perfect: the horn players struggle sometimes to keep up in No 1 and the solo trumpet part in No 2 is a bit harum-scarum.
There is also a pleasingly unhyperbolic DVD of the sessions including interviews with Alessandrini. Not that Pinnock need worry about that at this point in his career. Unsurprisingly, it reflects the increased playing standards of 25 years of period-instrument growth.
A hint of over-exuberant thickness in the texture of Concerto No 1 is perhaps a reflection of this, but elsewhere it is good to hear playing from the likes of violinist Kati Debretzeni, flautist Katy Bircher and the excellent David Blackadder on trumpet that is bold and confident without straying into coarseness. The pensive violin improvisation which links the two movements of No 3 is surely a miscalculation, feeling like more of a hold-up than it need be; more lastingly refreshing to my ears were the subtle relaxations of tension in the first movement of No 6, these days so often given the hard-drive treatment.
Expertly stylish recordings of the six concertos Bach presented in neat copy to the Margrave of Brandenburg in March are two-a-penny but the Dunedin Consort offer more substantial style and bona fide expertise than most. Indeed, conviction shows on every track of the set. This is music-making to lift the spirits.
Sheet Music details
And it shows, with unaffected performances of remarkable freshness and vitality. There is a soothing quality to the baroque flute, and its gentle, slightly reedy tone is captured very well on this disc from Channel Classics. It is closely recorded in a church acoustic to give a brilliant tone with added depth. This recording is not merely music therapy, however, but a genuine musical experience.
His performance of the unaccompanied A minor Partita, for example, is nothing short of commanding: the control in articulation and breathing allows the phrasing to be flexible and unfussy. Indeed, it is the directness of his interpretations that is so telling; there is almost none of that slightly coy rubato that some other flautists use to disguise the need to breathe.
Rather, Solomon ensures that the phrases are neither choppy nor fragmented. The faster movements are perhaps the most successful, full of buoyancy and energy without seeming rushed or pushed. Try the second movement of the E minor Sonata, for example, or that of the C major.
Slow movements are far from inexpressive, but again refreshingly direct: he never wallows a good example is the introductory movement of the E major Sonata.
Solomon is well partnered by Terence Charlston on a rich-toned Ruckers-copy harpsichord. Prepare to be uplifted. In a sense it matters little, for the works have been performed and recorded on a variety of other plucked-string instruments — harpsichord and lute-harpsichord as well as guitar — in exemplary fashion. Now Stephan Schmidt, using 10 strings, sets a new benchmark with this magnificent set. He knows when to embellish which he does with elegance and when not; the profound simplicity of the Sarabande of BWV calls for no gilding of its lily and Schmidt gives it that respect.
If there is a better version of these works on any kind of guitar in terms of content and recording quality I have yet to hear it. Rachel Podger has already attracted much praise for her recordings of the solo violin music, but is heard here to even better advantage in the Six Sonatas for Violin and Obbligato Harpsichord, BWV, for which she is joined by Trevor Pinnock of whose English Concert she is now the leader.
The two make a fine match. Both are uncomplicated, utterly instinctive musicians with a sure technical command and sound stylistic sense, and in works as robust and complete as these, that is most of the battle already won. The only period recording to touch Podger and Pinnock for technical assurance is that of Fabio Biondi and Rinaldo Alessandrini, but in both sound and interpretation it is heavy-handed compared with the spontaneous musicianship and airy texture on display here, and rather meanly it gives the six obbligato sonatas only.
In truth, all the recent recordings of these sonatas have had their merits. But this natural beauty — two discs for the price of one — is, quite simply, the best yet. Young music-lovers today may find it difficult to believe that, 50 years ago, major works by Bach were considered to be of such specialized appeal that recordings could be obtained only in a limited ''Society'' edition. The cello suites had never been recorded until Fred Gaisberg, after protracted efforts, finally persuaded Casals to play them for HMV: Nos 2 and 3 in London in November , the rest in Paris in July and July Casals had hesitated for 35 years before committing to disc these works — long regarded as unplayable, and never performed in their entirety — which he had discovered at the age of 13 and worked on for 12 years before playing them to an astonished public.
To do so he had had to evolve new techniques and, intellectually, to delve deeply into the character and inner structure of the music. He stressed the dance basis of the movements; and his vitality, rhythmic flexibility to clarify the shape of phrases and tonal nuance, and the vigour and variety of his bowing, still leap from the discs to impress the listener. From the profound contemplative quality of the G major Sarabande or the C minor Allemande to the zest of the C major Bourree, the breadth and grandeur of the D minor Suite's Prelude and the gravity of its Sarabande, the lightness of the E flat Allemande and Bourrees or the C minor Gavotte, the raptness of the C minor Sarabande, and the lucidity of thought behind the elaborate D major Allemande, these performances remain the classic yardstick by which all later ones must be judged.
The digitally remastered transfers from the original 78s, yielding an astonishingly clean ambience to the cello, represent another technical triumph for Keith Hardwick; but listeners with acute ears will notice that the Courante of the E flat Suite and the Gavotte of the C minor were recorded at a slightly sharper pitch than the movements preceding them.
Of all the great cellists I have heard playing Bach's six Cello Suites, BWV, either in the concert hall or in recordings of various kinds, Pierre Fournier came closer to the heart of the music, as I understand it, than almost any other. He made these recordings for Archiv between and since when they have seldom been out of the catalogue. Readers who prefer the charisma and extrovert flourishes of Tortelier EMI , the penetrating though sometimes unstylish gestures of Casals EMI References , or the brilliant but too often superficial readings of Schiff EMI and Maisky DG may be hard to win over to these concentrated, personally unassuming interpretations by Fournier.
Fournier seems to me to have possessed all the virtues of his fellow cellists without yielding to any of their self-indulgences; irrelevant personal idiosyncrasies are never allowed to intrude these finely sustained performances. He could be brilliant in execution — his technique was second to none, as he proves throughout this set — profound in utterance, aristocratic in poise and wonderfully coherent in his understanding of Bach's articulation and phrases. We need look no further than the Prelude of the First Suite in G major to find the supreme artistry which characterizes each and every moment of these performances.
To be sure, there are very occasionally notes which fail to reach their centre but they are few and far between and certainly Fournier's intonation compares favourably with that of some of his virtuoso companions. Fournier's rubato is held tightly in rein and when he does apply it it is in the interests of enlivening aspects of Bach's formal writing. Thus it is in the Preludes, where the music requires rhythmic freedom if it is not to be relegated to the ranks of mere study material, that Fournier demonstrates his intuition and fine sense of style most forcefully; the Preludes to the First and Third Suites provide good examples.
Fournier can sparkle too, as he does in many of the faster dance-orientated movements such as courantes, gavottes, bourrees and so on; in the sarabandes, on the other hand, he invariably strikes a note of grandeur coupled with a concentration amounting at times — as in the sarabandes of Suites Nos.
Above all, Fournier's Bach playing is crowned with an eloquence, a lyricism and a grasp both of the formal and stylistic content of the music which will not easily be matched. Bylsma's tempos tend to be faster than those of Fournier — that, after all has been a trend in baroque music over the past 20 years or so — but his conception of the music shares ground with that of Fournier. All things considered, it is hardly surprising that these readings seem as fresh and as valid today as they did 25 or more years ago.
Out and out purists, poor devils, may not be able to adjust to modern pitch, modern instrument and, in the case of Suites Nos 5 and 6, the wrong instrument, but if that is so they are deserving more of compassion than censure.