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So I decided to post two extracts from different performances.
Bach's cantata BWV106
I tried to find a version of the opening with few of the normal tuning problems of that wonderful mediæval instrument, the recorder. But when it comes to voices, listen on...
The wonderful thing about "period" instrumentalists and singers is that they are mercifully free of the C19th and C20th affectation of ostentatious vibrato. When these chaps (of both genders, note) hit a note, they don't wander around the note in some lachrymose imitation of emotional depth. And because of this, the architectural beauty of Bach's musical constructions are laid bare, even for the uninitiated. These are the blueprints of music available to anyone with ears wherein the multi-dimensional aspects of Bach's writing are made clear.
Often, I ponder on the nature of the friendship of Bach and Telemann. Had I the wit, and thought I there was an audience, I'd resurrect Flann O'Brien's Keats and Chapman joke, and recast it for Johann Sebastian and Georg Philipp.
Bach's cantata BWV106
I tried to find a version of the opening with few of the normal tuning problems of that wonderful mediæval instrument, the recorder. But when it comes to voices, listen on...
The wonderful thing about "period" instrumentalists and singers is that they are mercifully free of the C19th and C20th affectation of ostentatious vibrato. When these chaps (of both genders, note) hit a note, they don't wander around the note in some lachrymose imitation of emotional depth. And because of this, the architectural beauty of Bach's musical constructions are laid bare, even for the uninitiated. These are the blueprints of music available to anyone with ears wherein the multi-dimensional aspects of Bach's writing are made clear.
Often, I ponder on the nature of the friendship of Bach and Telemann. Had I the wit, and thought I there was an audience, I'd resurrect Flann O'Brien's Keats and Chapman joke, and recast it for Johann Sebastian and Georg Philipp.
