Johann Sebastian Bach

La Petite Bande continue their successful Bach Cantata Project. Their intention is to record one cantata for each Sunday and high feasts of the liturgical year. The project has been spread over several concert seasons during which the cantatas will be given concert performances, as well as being recorded for CD.

This series features outstanding live performances by the Vienna Symphony Orchestra’s extensive tape archive. This performance took place in the Large Concert Hall of Vienna’s Konzerthausgesellschaft in April 1955.

A revelatory new recording of the John Passion, which combines elements of all four performing versions.

The Johannes passion is a drama of outstanding intensity whose edition was not definively set by Bach. There were four public concerts which gave different organisation of pieces : 1724, 1725, 1728 et 1746/47.

Benoît Haller - already noticed for the musical power of his relation to the wordings of texts, thanks to his work on Schütz - wants to underline the importance of this passion which goes far beyond purely liturgical purpose.

It displays several and deep feelings which we may have in the curse of our lifes, and put forward archetypal characters... every one can be at one point the one who sacrifices, who betrays, denies, judges…

To support this intense drama, Benoît Haller chose his ideal version between the four : « the one which we felt was the most balance, correct, edifying.

This specially priced new recording features guitarist Timo Korhonen with the Partitas for Solo Violin by J.S. Bach, and his own arrangement for modern guitar.

This release follows on the success of the Bach Sonatas for Solo Violin (ODE1128-2). While many guitarists carry single movements in their repertoire, such as the famous Ciaccona from Partita No. 2, Timo Korhonen’s acclaimed project covers the complete Sonatas and Partitas for Solo Violin.

Korhonen’s transcriptions remain very faithful to the original violin score: “My aim was to execute the musical content, as if Bach had actually written it for six-string guitar back in 1720.” Timo Korhonen

Comprehensive booklet essay

Pioneering recordings from the 1960s and early 70s in first-rate stereo sound

In the late 1960 and early 70s Karl Münchinger and his Stuttgart forces were mainstay of the record catalogue when it came to Barock repertoire. Their recording of Vivaldi’s Four Seasons was a bestseller in its day, and had an very long life in the record catalogues. Münchinger and the Stuttgart Chamber Orchestra, whilst not period instrument musicians, were pioneers in what was then thought of as more authentic performance practice. These are clean performances with small-scale forces used with great precision, with all the 19th century excesses that had been necessary at one time to re-introduce these masterworks to the repertoire stripped away to reveal to many for the first time the true sound of the music. These recordings were the audio equivalent of seeing a restored painting by a great master for the first time.

Münchinger was astute in his choice of soloists, and the cast list for these recordings reads like a role call of the great names of the period. These are recordings that are both important historical documents, and that can hold their own alongside today’s period practice interpretations.

‘I enjoyed every moment of the fine performance, and the excellent recording, and found it alive from start to finish’ (Christmas Oratorio) Gramophone, December 1967

‘Many will be glad to hear Peter Pears’s superb performance of the Evangelist’ Gramophone, March 1965