Fuga 11 BWV 880

Sébatien Guillot, harpsichord

From Bach: Das Wohltemperierte Klavier – Teil II (2011)
Released by Saphir Productions


Bach: Fuga 11 BWV 880


First recording of The London autograph score.

Official website

Cantata BWV105: Aria “Wie zittern und wenken”
Elizabeth Watts, soprano
Harry Bicket, conductor
The English Concert, chamber ensemble

From Bach: Cantatas and Arias (2011)
Released by Harmonia Mundi




Bach: Cantata BWV105: Aria “Wie zittern und wenken”

Elizabeth Watts (Winner of the 2006 Kathleen Ferrier Award and 2007 The Cardiff Song Prize) received the Borletti-Buitoni Trust Award for this marvelous recording of J. S. Bach’s Cantatas and Arias.


Official website

Contrapuntus 1
Akademie für Alte Musik Berlin, chamber ensemble
Raphael Alpermann, organ

From Bach: Die Kunst der Fuge (2011)
Released by Harmonia Mundi




Bach: Contrapuntus 1, from Die Kunst der Fuge

The monumental Art of Fugue arranged by the musicians of Akademie für Alte Musik Berlin.


Official website

Gloria in excelsis Deo
Philippe Herreweghe, conductor
Collegium Vocale Gent, Early music ensemble

From Bach: Mass in B minor (2010)
Released by Harmonia Mundi




Bach: Mass in B minor, Gloria in excelsis Deo

Bach’s masterpiece performed by one of the best Baroque orchestras, Collegium Vocale Gent under the baton of Philippe Herreweghe.

A breathtaking recording.


Official website

Magdalena Kožená, mezzo-soprano

Bach: Was mir behagt, ist nur die muntre Jagd, Cantata BWV 208 – Aria: Schafe können sicher weiden

From Bach Arias (1998)
Released by Deutsche Grammophon






Bach: Schafe können sicher weiden

One of my favorite mezzos, Kožená has a voice so clear and bright, it’s pure crystal.

Paul Tortelier, cello

Bach: Prelude, Cello Suite No. 1

From Les 6 Suites pour violoncelle (2002)
Released by EMI Classics France







Bach: Cello Suite No. 1

What I like about this interpretation by Tortelier is the degree of intensity that makes the rendition almost painful, showing another, more complicated side of Bach.

Glenn Gould, piano
 

Bach: Goldberg Variations for keyboard, BWV 988: Aria

From Bach: Goldberg Variations, BWV 988 (1992)
Released by Sony Classical







Bach: Goldberg Variations6

Legend has it that Bach composed the Goldberg Variations at the request of the Russian Ambassador, Count Kaiserling, who was suffering from insomnia and asked for a lively yet soothing piece of music to be played by his live-in companion Goldberg, in order to ward off his sleepless nights.

The aria in itself is a masterpiece, and one wonders what can follow such a splendid opening. But indeed, the 30 variations are each breathtaking in their own way.

Glenn Gould made two recordings of the Variations: the first in 1955, at the age of 22, and the second one in 1981, one year before his death. It is most interesting to listen to both versions and discern the differences.

The 1982 version of aria has a completely different tempo, as Gould wanted to take the time to share his life in this short piece, and after the 30 variations, the return of the aria is thus described by the musicologist Peter Williams: "Elusive beauty … is reinforced by this return to the aria…. No such return can have a neutral  Affekt. Its melody is made to stand out by what has gone on in the last five variations, and it is likely to appear wistful or nostalgic or subdued or resigned or sad, heard on its repeat as something coming to an end, the same notes but now final."

Hans Hotter, Baritone
 
Bach: Cantata No. 82, ‘Ich habe genug,’ BWV 82 (BC A169): Aria “Schlummert ein, ihr matten Augen”
Philharmonia Orchestra

From Bach: Kantate “Ich habe genug” BWV 82; Brahms: 4 ernste Gesänge & 10 Lieder (1990)
Released by Capitol





Bach: Cantata No. 82


Ich habe genug (I have enough)

This is one of my favourite Bach Cantatas, and I own several versions of this recording, sung by various tenors, sopranos, mezzos and altos, but it is definitely Hans Hotter’s performance that I listen to most often. His deep voice furnishes the Cantata with the magnitude and seriousness that it deserves, but most importantly, it is his phrasing and breathing that make the whole piece so dramatic, intense and heartwrenching.

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