JS Bach: Sonatas & Partitas for solo violin
Thomas Zehetmair
ECM New Series 2551/52. 2CDs, 59’21+67’12
After first recording the Bach solo violin works in 1982 on a modern violin, albeit with more than a nod to the then-current notions of early performance practice, Thomas Zehetmair now returns with a Baroque instrument and two period bows, one for the Partitas, and the other for the Sonatas. It is recorded in a very generous acoustic, far removed from the possible chamber acoustic that Bach may have had in mind. But the violin speaks clearly though the background bloom, aided by Zehetmair’s careful articulation. Continue reading
The guitar was a popular instrument in Vienna in Schubert’s time, with several contemporary guitar arrangements of Schubert songs. One such, from the collection of the poet Franz von Wschehrd, has been used as the basis for this recording, along with transcription by the performers of the Romanze from Rosamunde and Der Leiermann. They are contrasted with three guitar Nocturnes by Johann Burgmüller, a younger contemporary of Schubert. 
The 25-year collaboration between four a capella male voices of The Hilliard Ensemble and the Norwegian jazz saxophonist Jan Garbarek is one of the most extraordinary stories in the world of music. Although far from being the first example of cross-over partnerships, it was one of the most innovative. Engineered (in more ways than one) by ECM’s Manfred Eicher, the result was Officium, one of the most influential recordings of recent decades. Two others followed, plus extensive concert touring. After 40 years of performing and recording, The Hilliard Ensemble retired in 2014. Part of their final year of performances were appearances with Jan Garbarek, one of which is the focus of this live recording. 
Russian pianist Alexei Lubimov concentres his performances and recordings on new music and music from the Baroque era performed on period instruments. This CD presents CPE Bach’s fantasies, sonatas and rondos played on the little-known tangent piano, usually referred to in German-speaking countries as the Pantaleon, Spattisches Klavier or Tangentenflügel. It enjoyed a brief moment of glory in the 18th century as a gap between the harpsichord and clavichord and the forthcoming fortepiano. Rather like the clavichord, its strings are struck from underneath by wood or metal tangents. Unlike the clavichord, where the note continues to sound while the tangent is in contact with the string, the tangent piano has an escarpment action similar to that of a fortepiano which allows the string to freely vibrate. It has a similar extent and control of expressiveness to the clavichord but is capable of much greater volume and intensity. It makes a gloriously twangy sound. There are a few original instruments still in existence, but this recording uses a modern replica, by Chris Maene of Belgium, of a 1794 Späth and Schmahl tangent piano from Regensburg. 
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Andrew Benson-Wilson : Early Music Reviews + 