Recorded in 1935 and 1936, Adolf Busch's interpretations of J.S. Bach's Brandenburg Concertos and the Orchestral Suites are important historical documents that historians should closely examine and practiced listeners ought to appreciate, though newcomers to these works should probably wait before hearing these recordings and forming an opinion. Owing to practices of the times, Busch's Bach is encumbered by a fairly deliberate and weighty approach that involves thick-sounding strings, minimal ornamentation, some plodding ...
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Recorded in 1935 and 1936, Adolf Busch's interpretations of J.S. Bach's Brandenburg Concertos and the Orchestral Suites are important historical documents that historians should closely examine and practiced listeners ought to appreciate, though newcomers to these works should probably wait before hearing these recordings and forming an opinion. Owing to practices of the times, Busch's Bach is encumbered by a fairly deliberate and weighty approach that involves thick-sounding strings, minimal ornamentation, some plodding tempos, and a complete reliance on modern instruments, including a piano for the continuo and featuring Rudolf Serkin as piano soloist in the Brandenburg Concerto No. 5. In terms of what is deemed proper Baroque performance practice today, Busch's versions are unavoidably stodgy and heavy in comparison. Compounding the problem of how these works sound to modern ears is the mono recording, which is exceptionally clear for its vintage, but bedeviled by incessant analog hiss and poor...
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