The Super-Duper Cheap Bargains Thread

[prémont]

Thanks. Some of the names involved in the performances:

Kussmaul, Hengelbrock, Schornsheim, Belder, Lubotsy, ter Linden,
Preston, Pinnock, Savall, Lindberg, Fagius, Zomer, Huggett,
Berben,Wuyts,Holton,Meel,Holland Boy Choir,Mathis,Wentz,
Belder,La Stravaganza,Kirkby,Hill,Agnew,Chance,Brandenburg
Consort,The Sixteen,Christophers,Netherlands Bach

I don't know if all of them were part of the earlier box.

I have to correct my former statement about new recordings in the new Brilliant Bach box.

Leon Berben´s horrible WTC has been replaced by Pieter-Jan Belder´s WTC, - a great improvement.

The Violin concertos by Emmy Verhey have been replaced by recordings by Dimitri Sitkovetsky - not necessarily an improvement.

Stephen Preston´s Flute sonatas have been replaced by the Flute sonatas by Jan Wentz, and furthermore I suspect that Wentz´s Musicalsches Opfer also is included in the new release, - certainly a reduction in value IMO.

[Antoine Marchand]

I have to correct my former statement about new recordings in the new Brilliant Bach box.

Leon Berben´s horrible WTC has been replaced by Pieter-Jan Belder´s WTC, - a great improvement.

The Violin concertos by Emmy Verhey have been replaced by recordings by Dimitri Sitkovetsky - not necessarily an improvement.

Stephen Preston´s Flute sonatas have been replaced by the Flute sonatas by Jan Wentz, and furthermore I suspect that Wentz´s Musicalsches Opfer also is included in the new release, - certainly a reduction in value IMO.

I understood your previous reply in the way that no "new recordings", i.e., released for first time on Brilliant Classics, were included in the new big box. But, obviously, during the last years Brilliant has replaced for own releases a considerable amount of material previously licensed from another labels. I would add to your list the following discs:

- Brandenburg Concertos: Originally, Consort of London, Robert Haydon Clark (excellent). Now: Musica Amphion/ Pieter-Jan Belder.

- Orchestral Suites: Originally, Consort of London, Robert Haydon Clark. Now: La Stravaganza Köln/ Andrew Manze (licensed from Denon).

- Concerti for 2, 3 & 4 harpsichords: Originally: Schornsheim, Heiller et. al. Now: Pieter-Jan Belder, Menno van Delft, Siebe Henstra et al/ Musica Amphion.

- Cello Suites: Originally, Robert Cohen (cello). Now: Jaap ter Linden.

IMO, the only real improvement is represented for the Cello Suites by ter Linden. The Orchestral Suites licensed from Denon are also excellent, but Robert Haydon Clark and his group were very good (although on modern instruments).

Finally, I agree with you, the replacement of the Flute Sonatas is a loss for future buyers. On the other hand, Belder for Berben will be a blessing. 

[Opus106]

Is the recording of the flute sonatas the two of you are referring to the same as the one available from CRD -- Pinnock, Preston and Savall?

I was, in fact, recently looking around the web for recordings of these works (seeing how much I love what Bach has done with the oboe and flute in his cantatas and such), but sadly, I could not find not many (HIPPI recordings).

[Antoine Marchand]

Is the recording of the flute sonatas the two of you are referring to the same as the one available from CRD -- Pinnock, Preston and Savall?

I was, in fact, recently looking around the web for recordings of these works (seeing how much I love what Bach has done with the oboe and flute in his cantatas and such), but sadly, I could not find not many (HIPPI recordings).

That's right, Navneeth; those two excellent discs were licensed from CRD. Unfortunately, some of the best versions of the flute sonatas are really hard to find, I'm thinking in Barthold Kuijken (2 CD-set, DHM) and Masahiro Arita (2 CD-set, Denon). That said, Janet See (HM) is also a very good choice (great price, too!); the same with Barthold Kuijken on Accent (just one CD with the "authentic" sonatas). I would avoid the aforementioned Jed Wentz; he is a virtuoso, but his tempi and general style in these works are totally unjustified. 

[Opus106]

Thanks, Antoine.

[Harry]

I would avoid the aforementioned Jed Wentz; he is a virtuoso, but his tempi and general style in these works are totally unjustified. 

I beg your pardon, but I do not agree with this rather hard statement. Where is it written that it should be played in a certain style and tempi.
We could hardly ask Bach now could we?
I think Jed Wentz is a excellent choice in these works.

[Antoine Marchand]

I beg your pardon, but I do not agree with this rather hard statement. Where is it written that it should be played in a certain style and tempi.
We could hardly ask Bach now could we?
I think Jed Wentz is a excellent choice in these works.

If you want your Bach played in gallant style, I don't have any problem at all, dear Harry... But any day I prefer Barthold Kuijken, Stephen Preston, Masahiro Arita, Marc Hantaï or Janet See -over Jed Wentz- in this repertoire. They are more consistent with the idea that many hours of listening –I know you are a dedicated listener- and some readings have left in me about how to interpret the music of Bach. Just as an exercise, tell me if the Andante of BWV 1030 really sounds like an "andante" (= walker, to walk) in your ears.

[Antoine Marchand]

Thanks, Antoine.

You're welcome, Navneeth. For some reason, I forgot another of my favourite versions:





Really, an exceptional disc. 

[Opus106]

You're welcome, Navneeth. For some reason, I forgot another of my favourite versions:



Really, an exceptional disc. 

So, essentially, everything except the Wentz? (I just sampled the first allegro from 1080 1079, and he is indeed fast. It's flowing nicely, but too rapidly for my tastes, given that I come from listening to CMW/Harnoncourt in this particular work.)

[Antoine Marchand]

So, essentially, everything except the Wentz?

Not really. For example, I wouldn't either recommend Pahud/Pinnock or Nicolet/Richter, among the versions that I have.

[Opus106]

Not really. For example, I wouldn't either recommend Pahud/Pinnock or Nicolet/Richter, among the versions that I have.

I was just kidding.

[Antoine Marchand]

I was just kidding.

I know, I know, funny boy.  I just wrote that "for the record". 

[Antoine Marchand]

... I just sampled the first allegro from 1080..

[Opus106]

If I remember correctly, the last time you posted one of these, it was meant to convey amazement, in a good sort of way. Does that hold now also?

[Antoine Marchand]

If I remember correctly, the last time you posted one of these, it was meant to convey amazement, in a good sort of way. Does that hold now also?

Oh, yes. The Art of Fugue on baroque flute will always be an event in itself. 

[Opus106]

Oh, yes. The Art of Fugue on baroque flute will always be an event in itself. 

Oops!

[Harry]

If you want your Bach played in gallant style, I don't have any problem at all, dear Harry... But any day I prefer Barthold Kuijken, Stephen Preston, Masahiro Arita, Marc Hantaï or Janet See -over Jed Wentz- in this repertoire. They are more consistent with the idea that many hours of listening –I know you are a dedicated listener- and some readings have left in me about how to interpret the music of Bach. Just as an exercise, tell me if the Andante of BWV 1030 really sounds like an "andante" (= walker, to walk) in your ears.

That would be a discussion about tempi, thats very dangerous, remembering a dispute I had with a Beethoven addict about the interpretation of tempi Zinman is using in his Beethoven. Would you forgive me, if I dare not go into a discussion about tempi? Certainly not in the open. PM me about it if you please.

[Harry]

You're welcome, Navneeth. For some reason, I forgot another of my favourite versions:





Really, an exceptional disc. 

I have that too, and agree about its excellence.

[Harry]

So, essentially, everything except the Wentz? (I just sampled the first allegro from 1080 1079, and he is indeed fast. It's flowing nicely, but too rapidly for my tastes, given that I come from listening to CMW/Harnoncourt in this particular work.)

Well I rather like that. Fast and furious.

[Antoine Marchand]

That would be a discussion about tempi, thats very dangerous, remembering a dispute I had with a Beethoven addict about the interpretation of tempi Zinman is using in his Beethoven. Would you forgive me, if I dare not go into a discussion about tempi? Certainly not in the open. PM me about it if you please.

A rough dispute between us? It's not a realistic possibility, Harry. You know I appreciate and respect your opinions.