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with the times in his own way---in spades. These recordings aren't like those of the Northern European music directors/conductors we've been hearing:
more drama, but sincere for a blessed change ? More risks taken; no holds barred, full-bodied . . .
by an ensemble about as small as could be managed, in which the interaction of musical lines is matched visibly by the interaction between
performers---led (almost imperceptibly) by violinist Shunske Sato, new to me and worth following.
The performance is enhanced by the presence of a vintage 1640 harpsichord [by Ruckers, no less] which was [available]
for the occasion. I'm not sold by the keyboardist [in the first-movement cadenza, anyway] but . . . what fun they are surely having ! For once we
hear the bass notes loud and clear.
The fourth Brandenburg: https://www.youtube.com/watch?v=oSZJ__GIbms
Sato flaming; recorders holding their own very nicely, thank you !
(Follow that with this cantata, if you like; a sopranino recorder---or a piccolo, for heaven's sake---picks up nicely from Brandenburg #4.)
[edits in brackets]
Wait til he really gets into it, about a third of the way through. Much of this Partita is new to me, until a familiar section appears at the half-way point.
https://www.youtube.com/watch?v=7Oih0CK7eTw The first movement only, unfortunately; not sure if the rest of it is out there as well.
It is the baritone/bass section that gives Sanctus that rolling, seafaring gait. The choir literally swayed (very slightly) back and forth.
The one massive choral piece I regret never having the opportunity to sing is the Berlioz Requiem. I'm old now, and the pipes are not merely rusty, but shot, so that will never happen.
A friend of mine, Coe Glade, whose claim to fame was having starred in "Carmen" more than any other singer in history, was living in California while the studios were mulling over making her a star. (In addition to having a spectacular voice, she as beautiful as Hedy Lamarr.) The doorbell rang, and Coe's mother went to answer it. Coe heard the door slam. "Who was that?" she asked. "Oh, just another gypsy!" the mother exclaimed. Coe went to the window to see Galli-Curci, Coe's idol, storming off in a rage!
Here's a bit of the B Minor Mass, arranged by Bach as a Gloria. A chance to hear familiar music at new depths and heights---and tempi ? As the decades pass, those interpreting Bach's music just get further and further into it, it seems...
Wright, writing in 1932: "I have always loved old Germany; Goethe, Schiller, Nietzsche, Bach---the great architect who happened to choose music for his form---Beethoven and Strauss..."
An example of Bach's "architecture," revealed ?
And that might lead you to this: