Performance extremes: Bach
There can hardly be another composer where we hear such strong differences in interpretation as with Johann Sebastian Bach. In part, this is due to the rise in the last few decades of historically informed performance practice. On the other hand, though, it's to do with Bach's music itself, which can carry the different interpretative fingerprints of different interpreters so well, but at the same time – through all its many varied manifestations – be constantly born anew, never losing its identity. In this playlist the most outrageous differences can be compared directly. Playlist curated by Arno Lücker.
- Bach • Das Wohltemperierte Klavier (The Well-Tempered Clavier), Book II BWV 870-893 • BWV 884 • Prelude No. 15 in G majorGlenn Gould (Piano)℗ 1970
- Bach • Das Wohltemperierte Klavier (The Well-Tempered Clavier), Book II BWV 870-893 • BWV 884 • Prelude No. 15 in G majorFriedrich Gulda (Piano)℗ 2015
- Bach • Concerto for Violin, Strings and Basso continuo in E major BWV 1042 • II. Adagio
- Bach • Orchestral Suite (Overture) No. 2 in B minor BWV 1067 • I. OuvertureHerbert von Karajan, Berliner Philharmoniker℗ 1965
- Bach • Orchestral Suite (Overture) No. 2 in B minor BWV 1067 • I. OuvertureTon Koopman, The Amsterdam Baroque Orchestra℗ 1989
- Bach • Italian Concerto in F major BWV 971 • I. (Allegro)
- Bach • Cantata 'Widerstehe doch der Sünde' BWV 54 • No. 1 Aria 'Widerstehe doch der Sünde'Marga Höffgen (Alto), Kurt Thomas
Gewandhausorchester Leipzig1959, Leipzig, Thomaskirche - Bach • Cantata 'Widerstehe doch der Sünde' BWV 54 • No. 1 Aria 'Widerstehe doch der Sünde'Nathalie Stutzmann (Alto), Sir John Eliot Gardiner
English Baroque Soloists℗ 2000, Norfolk, Walpole St Peter, Norfolk - Bach • Brandenburg Concerto No. 5 in D major BWV 1050 • I. AllegroRudolf Serkin (Piano), Adolf Busch
Busch Chamber Players1935, London, Abbey Road Studios - Bach • Brandenburg Concerto No. 5 in D major BWV 1050 • I. AllegroStephen Preston (Flute), Catherine Mackintosh (Violin), Christopher Hogwood
Academy of Ancient Music℗ 1997 - Bach • Matthäus-Passion (St. Matthew Passion) BWV 244 • Part I • No. 1 Chorus 'Kommt, ihr Töchter, helft mir klagen' (Chorus)Gundula Janowitz (Soprano), Christa Ludwig (Alto), Horst R. Laubenthal (Tenor), Walter Berry (Bass), Herbert von Karajan
Berliner Philharmoniker, Wiener Singverein, Chor der Deutschen Oper Berlin, Staats- und Domchor Berlin℗ 1973 - Bach • Matthäus-Passion (St. Matthew Passion) BWV 244 • Part I • No. 1 Chorus 'Kommt, ihr Töchter, helft mir klagen' (Chorus)James Gilchrist (Tenor), Stephan Loges (Bass), Jonathan Sells (Bass), Alexei Ashworth (Bass), Ashley Riches (Bass), Rupert Reid (Bass), Lawrence Wallington (Bass), Alison Hill (Soprano), Angharad Rowlands (Soprano), Jessica Cale (Soprano), Reginald L. Mobley (Alto), Andrew Tortise (Tenor), Hannah Morrison (Soprano), Zoë Brookshaw (Soprano), Charlotte Ashley (Soprano), Eleanor Minney (Alto), Hugo Hymas (Tenor), Sir John Eliot Gardiner
English Baroque Soloists, Trinity Boys Choir, Monteverdi ChoirSeptember 2016, Pisa, Dom Santa Maria Assunta - Bach • Orchestral Suite (Overture) No. 3 in D major BWV 1068 • II. AirHenryk Szeryng (Violin), Sir Neville Marriner
Academy of St Martin in the Fields℗ 1976 - Bach • Orchestral Suite (Overture) No. 3 in D major BWV 1068 • II. AirEnrico Onofri (Violin), Marco Cera (Oboe), Paolo Grazzi (Oboe), Giovanni Antonini
Il Giardino Armonico℗ 2001