Johann Sebastian Bach

“One man and four stirings mesmerizing more than 2000 people … an indescribable palette of colours, or contrasts … an extraordinary demonstration of thought, of mastery, of style” Basler Nachrichten

“Fournier's rendition of the Cello Suites displays more aristocratic, more 'refined' playing than Casal's, but its equally dedicated. It's also recorded with a fullness of tone which still makes the instrument sound almost alarmingly present.” BBC Music Magazine, December 2007 ****

“Peter Schreier's celebrated 1987 recording catches beautifully the brimming sense of pure human happiness surrounding the birth of the Saviour.” BBC Music Magazine, December 2007 ****

“Peter Schreier contributes a fine, fresh version of the Christmas Oratorio, similarly taking on the double duties of conducting and singing the central part of the Evangelist. The Leipzig Radio Choir sings responsively; though modern instruments are used, Schreier consistently shows how he has been influenced by new ideas of authentic performance on period instruments. Though the scale is larger than in a period performance, the speeds are regularly fast, sprightly rather than breathless, with string articulation crisp and light ... the soloists make a strong, consistent team ... full, bright and atmospheric recording ... the layout on three CDs make this issue competitive.” Penguin Guide

“Fischer's was the first complete recording of the '48' and it set a benchmark which only the greatest have equalled. It's not blemish-free and the recorded sound is variable, but his ego-less playing bequeaths some of the most life-affirming Bach on disc.” BBC Music Magazine, Proms 2008 *****

“EMI’s Great Recordings of the Century is exactly what it says: these classic interpretations warrant a place in everybody’s collection.” The Times

“The pieces here are expanded arrangements, largely by Bach himself, of music for solo cello and violin… O'Dette responds magnificently, playing with a sense of total ease - fluent, expressive, sensitively balancing contrapuntal lines.” BBC Music Magazine, September 2007 *****

“Bach never wrote directly for lute; his works for the instrument are transcriptions from his preexisting music or were written for the lute-harpsichord (Lautenwerk), an instrument designed to imitate the lute. The A minor Suite, BWV995, Pièces pour la Luth à Monsieur Schouster, is an arrangement of the Cello Suite BWV1011; the Partita in E major is an arrangement of the Partita BWV1006 for solo violin, transposed to F major. The Sonata in G minor is an arrangement by O'Dette of the Sonata in G minor for solo violin BWV1001, modelled after the arrangement of its fugue for lute by Johann Christian Weyrauch, a friend of Bach's.
A direct comparison with Hopkinson Smith's magisterial readings (Astrée) is revealing. He treats the dance in the abstract. His pulse is flexible, his expressive shading copious. O'Dette is determined to restore the dance proper. The rhythmic outlines are sharply defined by a judicious use of staccato bass notes and extensive employment of notes inégales and other Frenchstyle embellishments. That's not to say that O'Dette isn't alive to a more improvisatory quality, especially in the preludes and the Sonata in G minor. But in short, with his readings, the body dances; with Smith's, the soul. Neither approach is superior to the other – it's merely a matter of emphasis.” Gramophone Classical Music Guide, 2010

“It is Ich weret weinen which immediately arrests the listener… in a compelling performance. This is Suzuki at his best: unequivocal direction of line and beauty of conception, enhanced by Robin Blaze and James Gilchrist in irrepressible form.” Gramophone Magazine, March 2008

“…everyone of these cantatas find the composer on irresistible, heart-rending form. Happily, too, the responses of these excellent musicians leave little to be desired. Undeniably fine performances by John Eliot Gardiner (BWV 6), Philippe Herreweghe (BWV 42), and Karl Richter (BWV 108) must take second place beside readings of this order.” BBC Music Magazine, November 2007 *****

“Throughout this ongoing series I have come to consider the magnificent direction of Masaaki Suzuki to be one of the greatest recording achievements of my lifetime” MusicWeb International

“Inspired changes of tone colour” Gramophone Magazine

“Johann Sebastian Bach… wrote Cantata 82, Ich habe genug, in 1727… Florilegium play it with touching gentleness, a filigree of one-to-a-part strings, Ashley Solomon's soft-toned baroque flute, and Johannette Zomer subtly matching vocal tone and vibrato to every nuance of the text.” BBC Music Magazine, September 2007 *****

“This new Goldberg Variations is a delight...Schepkin's performance is a nice alternative [to the Gould recordings]” American Record Guide

“Among an avalanche of Bach keyboard releases, Sergey Schepkin’s Goldberg Variations was a revelation when I received it for review...I find that it grows even more beguiling with repeated hearings, and recommend it confidently in preference to pretty well any other Goldberg recording I've ever heard.” Fanfare

“An extraordinary young pianist...with striking purity of tone, complete technical control and restless intelligence...Mr. Schepkin's lofty perspective held one mesmerized...Clear, penetrating and bristling with life...a major technique...a major Bach pianist.” New York Times

“This is one of the most amazing performances I have ever heard, and I enjoyed everything about it. It's a joy from first note to last. Buy it!” The Listener