This is certainly a Bach reading that leans toward the old school: not only are pianos used, but there's a good deal of pedal that produces rather Chopinesque slow movements. Sample that of the Concerto in A minor for four pianos, BWV 1065, to see whether you find the approach at all sympathetic; 50 years ago it would have been simply normal Bach performance, especially given that the String Ensemble of the Orchestre National du Capitole de Toulouse, like the first wave of Italian Baroque orchestras, is slimmer than the ...
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This is certainly a Bach reading that leans toward the old school: not only are pianos used, but there's a good deal of pedal that produces rather Chopinesque slow movements. Sample that of the Concerto in A minor for four pianos, BWV 1065, to see whether you find the approach at all sympathetic; 50 years ago it would have been simply normal Bach performance, especially given that the String Ensemble of the Orchestre National du Capitole de Toulouse, like the first wave of Italian Baroque orchestras, is slimmer than the symphony orchestras that brought Bach down from the Romantics. If you are down with it, you'll find performances here that are enjoyable in many ways. These concertos were all transcribed from other works, including in one case (the four-piano concerto) a concerto for four violins by Vivaldi. The talents of lead pianist and director David Fray are well-suited to this aspect of Bach's genius: Bach fools with the texture of the originals, and Fray's playful, varied attacks draw attention...
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