JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. This content downloaded from 202.28.191.34 on Wed, 30 Dec 2015 21:38:24 UTC All use subject to JSTOR Terms and Conditions Record Reviews Record Reviews Record Reviews Record Reviews BACH Trio Sonata in G, Bwv1039. NAUDOT Recorder Concerto in G, op.17 no.5. TELE-MANN Recorder Sonata in F. VIVALDI Concerto in F, P262. Frans Bruiggen/instrumentalists TELEFUNKEN SAW 9622 (?1.72)The excellent technical and musical abilities of Frans Briiggen must be well known to all recorder specialists and to a great many other musicians interested in Baroque music. This mixed collection culled from various sources is entirely typical of his talent for performing 18th-century music in a lively and authentic way. The melodious Telemann sonata from the first book of Der Getreue Musikmeister is dashed off with all the aplomb and style that one has come to expect of this young Dutch player. His ornamentation of the repeats in the slow movement is delightful. Even the rather plain concerto by the Frenchman Naudot has its good moments in his hands. The two best works on the record are the Vivaldi and the Bach. In the former Briiggen gives us equally brilliant and incisive playing in the fast movements and all the emotion that one could ask for in the pathetic siciliana. Normally, of course, this concerto is performed on the flute as op.10 no.5; here it is performed in the original version for two flutes (Bruggen on a flauto traverso of 1750, Leopold Stastny on a copy) and continuo, but it is also known in Bach's arrangement in C for viola da gamba and harpsichord obbligato, BWv1027 The sinuous lines are well shaped and phrased, and the playing is especially sensitive on the numerous suspensions and lownote passages, although the tone, albeit probably authentic, is here and there a little fuzzy and breathy. Briiggen's various accompanists are all generally most accomplished, but a special word of praise must go to Gustav Leonhardt for his harpsichord continuo in the Telemann. The recording, except for some close, shrill playing in the Naudot, is very clear. NIALL O'LOUGHLIN BACH Church Cantatas nos.28, 29, 30. Soloists/ Wiener Sangerknaben, Chorus Viennensis/Vienna Concentus Musicus/Harnoncourt TELEFUNKEN SKW 8/1-2 (?5.10) The most extended cantata in this group is no.30, a reworking nine months on of secular homage in September 1737 to the Lord of Wiederau. Harnoncourt puts such parodies in their proper perspective by pointing out that the two texts were often written by the same poet and the final sacred version was very probably in Bach's mind while actually at work on his ephemeral act of congratulation. As sinfonia to no.29 Bach uses the prelude to the E major solo violin Partita, here in D on an organ...
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