[.ca] Solo/Double Vln Ctos

From Amazon.co.uk:
It is well known that most of Bach's harpsichord concertos began their lives as violin concertos. Since only three violin originals survive--the ones designated as BWV 1041-43--and since these are among his greatest instrumental works, musical scholars and performers have been reversing the process, turning the harpsichord concertos back into violin originals. BWV 1060 is one such case, a concerto for two harpsichords, which sounds much less clangy and bangy in this reconstructed version for two violins. Now Andrew Manze is simply the finest baroque violinist alive, and so this recording is self-recommending on that count alone. It is just about perfect. --David Hurwitz

Amazon.com essential recording:
It's well known that most of Bach's harpsichord concertos began their lives as violin concertos. Since only three violin originals survive--the ones designated as BWV 1041-43--and since these are among his greatest instrumental works, musical scholars and performers have been reversing the process, turning the harpsichord concertos back into violin originals. BWV 1060 is one such case, a concerto for two harpsichords, which sounds much less clangy and bangy in this reconstructed version for two violins. Now Andrew Manze is simply the finest baroque violinist alive, and so this recording is self-recommending on that count alone. It's just about perfect. --David Hurwitz

Poor Articulation and Uneven Tone:
I make no bones about it, I'm not on the band wagon of the "Manze Craze" going around the past few years. These Bach Violin Concertos (and previous recordings) show Andrew Manze to obviously be a violinist of extreme technical ability as far as negotiating complex passages, however what he has in complex passages work he is lacking in flowing melodic line, solid intonation, smooth articulation and beauty of sound. His playing often sounds scratchy, awkward and uneven. The tone he emits from his instrument is not attractive and his phrasing sounds unnatural. Let's look at the A minor concerto in detail and compare it to Jaap Schroder/Academy of Ancient Music/Christopher Hogwood's recording on Decca 400 080 (IDN 3259140008026 Out-of-print) or (A Minor Concerto on Uni/L'Oiseau-Lyre - #43326 ASIN: B000004CYD and E Major Concerto on Pgd/L'Oiseau-Lyre - #448178 ASIN: B000004CYP). Let's talk about the engineering of the recording, first. When the A minor recording first started I was struck by the boxy closed-in sound of the Manze recording and it's lack of high overtones from the baroque violins. The prominence of the Manze's violin overpowers the orchestra. On the other hand, Schroder's recording is much better balanced with a really nice ambiance to the recording with a decay time of about 2 seconds, perfect. Schroder's recording has the nice high bright silky overtones which the original instruments should have. For the performance, Manze shows uneven articulation and wavering intonation that is not enjoyable to listen to. Also, there is a lack of what I would call buoyancy to the Manze recording. Schroder has a command of the music with solid intonation combined with smooth articulation. Schroder's fast movements are buoyant and soaring when needed. While listening to the slow movement of the Schroder recording, I was lulled into ecstasy. Manze, on the other hand takes the slow movement too slow and his tone is uneven during long notes. In one instance he reaches a high note and there is a definite slide up into the note that is very irritating. As a side note, another alternate recording that is almost as good if not as good in it's own way as the Schroder recording is the one by Elizabeth Wallfisch on Virgin Records - #61558 (ASIN: B00000J2PS). All in all, the Manze recording of Bach's Violin Concertos makes for an unsatisfying listening experience. You would be much better off with the Schroder or Wallfisch recording.

Great disc!!!:
Hello! This disc, for it's price and interpretation, is well worth every penny and more. I purchased the CD a couple of weeks back and have listened to the whole thing repeatedly 4 or more times a day. Why? It is fresh and exciting. We are all used to the slower, romanticized, play-throughs of people like Perlman, Stern, Oistrakh, etc. While each has its merits, none are quite as satisfying, to me, as this disc. The d-minor double violin concerto is SO impressive. I listen to the introduction before the soloists again and again because there is so much verve to the Academy's playing. They bring out the low string line and harpsichord well--balancing the moving line with the higher strings. I am used to hearing muddle with all of these works, but despite the speed, there is so much clarity! I have played the E-major concerto, but have heard few recordings that I liked. This one keeps my attention all the way through. The fire in the d-minor arranged double is also thrilling, especially the last movement. This is a very revisionist approach to the way we have been forced, in essence, to read and hear Bach for years. People may say it is very Vivaldi-esque, and not "serious" Bach, but I beg to differ! Manze, Podger, and the Academy find an excitement in these pieces that seems to have been lost for centuries. And what really impresses me is their keen sense of push and pull with the dynamics. This is a must have, and if you can't have it, the Wallfisch, Bury et al. disc is a good alternative. Congrats Manze, excellent disc all the way!

Exciting Peformance Poorly Recorded:
The first thing I noticed when I started listening to this recording was how closely the solo violin was recorded (and both soloists in the double concerto). The violin is given no breathing room by the microphones. Consequently, I never listen to this recording. It is one of the worse sounding recordings I own. What a shame, because it's my favorite performance of these pieces.

Buy this now:
There really isn't much to say; this is in my top 5 CD's.

Absurdly Fast:
At such absurd tempi, no matter the quality of violonists involved, everything is treated in a light manner and the music suffers a great deal. This kind of interpretation, scratchy and horribly fast, has given a bad name to the otherwise great merits of HIP musicians. For HIP performances of Bach's surviving violin concerts, I recommend Simon Standage/English Concert and Elizabeth Wallfisch/Orchestra of the Age of Enlightenment. There is no non-HIP performance that I could really recommend. All those I've listened to suffer greatly from the flaws of late romanticism when performing older music. DO NOT get yourself impressed by the "big names" involved (Perlman, Grumiaux, Stern, Oistrakh). They "explore" the unexistent romantic side of this composer. Yet, how could a fugal line, a counterpoint, the stones upon which Bach constructed his magnificent oeuvre, how could they have ANYTHING whatsoever in common with Romanticism?

• Concerto In D Minor For Two Violins (BWV 1043): I. Vivace
• Concerto In D Minor For Two Violins (BWV 1043): II. Largo ma non tanto
• Concerto In D Minor For Two Violins (BWV 1043): III. Allegro
• Concerto In A Minor For Violin (BWV 1041): I. (Allegro)
• Concerto In A Minor For Violin: II. Andante
• Concerto In A Minor For Violin (BWV 1041): III. Allegro assai
• Concerto In E Major For Violin (BWV 1042): I. Allegro
• Concerto In E Major For Violin (BWV 1042): II. Adagio
• Concerto In E Major For Violin: III. Allegro assai
• Concerto In D Minor For Two Violins (BWV 1060): I. Allegro
• Concerto In D Minor For Two Violins (BWV 1060): II. Adagio
• Concerto IN D M:inor For Two Violins: III. Allegro