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Six Concertos For The Margrave Of Brandenburg Doppel-CD

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Audio-CD, Doppel-CD, 1. November 2007
"Bitte wiederholen"
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Trevor Pinnock-Shop bei Amazon.de


Ensemble Brandebourgeois Européen - Trevor Pinnock, direction


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11 von 11 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen They may even surpass Pinnock's first set 4. April 2013
Von John J. Puccio - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
There was already a plethora of Brandenburg Concertos discs on the market before Trevor Pinnock recorded them for the first time with his English Concert in the Eighties. But his recordings rightly soared to the top of many critics' lists of recommendations for their vivacity, enthusiasm, authentic performance practices, and admirably clear sonics. So why would he convene an all-new cast of period-instruments performers in 2006-07 to rerecord them for Avie? My first thought was pretty cynical: I wondered if he didn't want to capitalize on the popularity of his earlier set to sell a new one to curious fans. Fortunately, my cynicism proved unfounded. These new Brandenburgs are sufficiently different and sufficiently better recorded to warrant a listen. Indeed, they may even surpass Pinnock's first set.

In the booklet notes, Pinnock explains that "eager to cut through any narrow conceptions of period style I invited players from different countries and of different generations to join my new voyage of exploration." With Pinnock directing from the harpsichord, the new performances appear more relaxed than his older ones, although never lax.

You remember that Bach's Brandenburg Concertos sound different from one another because the composer never meant them to be a cohesive group. Margrave Christian Ludwig of Brandenburg commissioned Bach to write several pieces for him, and what he got a few years later was a collection of six works for various-sized ensembles and various solo instruments that Bach had probably composed at various times for various other occasions. More or less.

Concerto No. 1 is among the longest of the Brandenburgs and arranged for the biggest ensemble. It is also my least favorite. Under Pinnock it is one of the most gently played and subdued renderings I've ever heard of the work. All seventeen of Pinnock's players become involved, the "hunting horns" rotating with solo violin for prominence in the movements. The dances in the final section flow gracefully, fluidly, regally, rather than knocking us on our head.

Concerto No. 2 is among the most popular of the pieces and highlights the oboe, recorder, violin, and trumpet, the latter getting in some good playing time. It is the bounciest of the six concertos, but unlike the breathless readings of some of Pinnock's rivals, this interpretation races forward at a leisurely pace, yet without ever losing its forward thrust or momentum. What's more, the slow middle movement sounds more wistful than ever.

Listeners probably know Concerto No. 3 as well as they know No. 2, maybe even more so. Here, Pinnock and his crew are lively and vibrant without being tiresome or stressful. More than in the other concertos, No. 3 is pure ensemble work, and the players work wonderfully well together, producing a single force. The brief second movement, improvised on violin, makes a fitting bridge to the sparkling Allegro that concludes the piece.

Concerto No. 4 is Bach's most playful, with the soloists darting in and out of the structure, Pinnock's team making the most of it in a winning display of virtuosity. However, the two recorders and the violin never overstay their welcome and present a happy and delightful compromise throughout the work. It's a sweet and lovely performance all the way around.

Concerto No. 5 is another of my personal favorites, highlighting solos from the violin, flute, and, unusually, harpsichord. One of the smallest ensembles, eight players, ensures a greater clarity of sound. Again, Pinnock emphasizes a lightness and grace in the work, things sometimes missing from his earlier account, as well as from most accounts in general. Nevertheless, the playing is skillful in the extreme and never fails to dazzle in its beauty, refinement, and execution.

While Concerto No. 6 is for me the least distinctive work of the set and uses the smallest ensemble, seven players, it doesn't feel small. It's only real deficiency is its similarity to Concerto No. 3, though taken at a much slower pace. Pinnock and his people offer as light a touch here as before, not giving up too much sparkle along the way.

The sound, which Avie recorded in 2006 and 2007 at the ballroom of the Sheffield City Hall, Sheffield, England, and at the Henry Wood Hall, London, is warmer and smoother than Pinnock's earlier sessions. As before, the players appear moderately close up, and the degree of transparency involved varies with the size of the ensemble and the location of the recording. Mostly, though, it is quite good, quite realistic, with enough ambient bloom to provide a feeling of one's being in the audience. It's an easy-listening sound rather than a distinctly audiophile one, and for this music it works beautifully.

John J. Puccio
Classical Candor
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Excellent recording. 11. November 2015
Von KO6JW - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
The Brandenburg Concertos were some of the first classical recordings I was exposed to fifty plus years ago and I have owned several recordings on both vinyl and CD. In fact, I have an earlier recording by Pinnock and The English Concert. That earlier recording is more academic and controlled. This set has a more open and freer style and I like it better. I also have a set by Richard Egarr and the Academy of Ancient Music. That recording is mixed very strangely and, while interesting in its way, is not as good a this offering by Pinnock. I never tire of the Brandenburg concertos and this recording in one of the best I've heard.
7 von 7 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Dynamic, dynamite Brandenburgs from Pinnock and his colleagues 24. September 2011
Von Yi-Peng - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
There have been countless Brandenburg cycles over the years. Of these countless recorded cycles this Pinnock offering is one of the most dynamic offerings of these concertos. I have great affection for Pinnock's previous DG recordings with the English Concert. On listening to this new set I'm confident to say that this new cycle is so much more outgoing and engaging compared to the reserve of the previous cycle.

From the get-go in the First Concerto one senses that this Brandenburg cycle is a very gutsy offering. By this I mean that the performances on this cycle are very outgoing. Pinnock generally adopts fast tempi but they hardly sound rushed. Every soloist seems to play with all his (or her) heart and everyone relishes their solo turns. The horns in the First Concerto are full-throated and rasping, and conjure up the hunting atmosphere of this piece. Elsewhere I admire David Blackadder's superb trumpeting in the Second Concerto. I also admire the interaction between players throughout these performances, especially in the Third, Fourth and Sixth concertos. The performances of these concertos conjure up the feel of a dialogue as the players respond better to each other. And of course Pinnock does an excellent harpsichord turn in the Fifth Concerto, interacting with the flautist and the violinist and navigating that all-important first-movement cadenza with ease and panache.

I admire the lighter feel of this version because of the lighter bass line. I thought it makes the music trip along more lightly. Also it makes the textures much clearer. The recording quality is excellent too and aids the clearer textures.

To sum up, this is a superb recent Brandenburg cycle and it's well worth the money.

I would also like to recommend the Monica Huggett recordings of the Orchestral Suites, also on Avie. Both recordings strike me as progressive Bach recordings, and they give us marvellous performances of these core works.
5.0 von 5 Sternen My favorite Brandenburg Concertos 1. August 2016
Von carl lian - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This is a wonderful recording of the Brandenburg Concertos. Compared to Pinnock's excellent early 1980's recording, this set offers two important advantages. First, performance skills with period instruments have improved over time, so this version has musicians with more experience playing their period instruments. Second, the early 1980s Brandenburg concertos were a relatively early digital recording that the clean but harsh sound typical of early digital recordings. This 2007 release has much better sound quality and that makes the performances more enjoyable to listen to, and better reminds me of attending a performance of the Brandenburg Concertos by Pinnock and the English Concert at the 92nd Street Y in New York City in the late 1980s. Highest recommendation.
6 von 7 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen The best Brandenburgs 13. Januar 2012
Von bassfiddlesteve - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
I already have several recordings of the Brandenburg Concertos, but when I read an article about violone (bass) player Peter McCarthy it piqued my interest so I purchase this CD. The period instruments and baroque tuning lend a transparency to the sound that is a pleasure to hear. Though many of the tempos are quite brisk they never sound frantic. I didn't think I'd like the absence of the 16 foot bass in four of the six concertos, but I it really contributes to the airy sound and is probably the more historically correct. I especially enjoyed the rich sound of the violas in the Allegro of number 6 and now have a new appreciation for this movement. I many never listen to my other Brandenburg CD's again.
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