There are many, many good things about Andrew Parrott and the Taverner Consort and Players' Bach performances -- their luminous colors, complete clarity, utter lucidity, and structural integrity -- that there is an uneasy feeling in criticizing them for their occasional flaws. When Parrott's Bach is good, it is as great as any that has been recorded in the past 20 years. It's as great as Leonhardt's, Koopman's, or Herreweghe's, and far better than Gardiner's, Harnoncourt's, or Rilling's. And Parrott's Bach is so great in ...
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There are many, many good things about Andrew Parrott and the Taverner Consort and Players' Bach performances -- their luminous colors, complete clarity, utter lucidity, and structural integrity -- that there is an uneasy feeling in criticizing them for their occasional flaws. When Parrott's Bach is good, it is as great as any that has been recorded in the past 20 years. It's as great as Leonhardt's, Koopman's, or Herreweghe's, and far better than Gardiner's, Harnoncourt's, or Rilling's. And Parrott's Bach is so great in the great pieces -- so great in the overwhelming dramatic intensity of the close of his Saint John Passion and so great in the mystery, agony, and ecstasy of the central choral triptych in his Mass in B minor -- that his performances seem very, very great indeed. But there are still those occasional flaws. For some reason, his Easter Oratorio doesn't quite hold together -- it seems more like a series of great moments than a great piece -- and his Ascension Oratorio seems strangely...
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