| Categories
Click to expand
More added daily! | | | | | | | | | | | | | | | | | | | | | |
| |  | DVD-CD-VIDEO | Home » » Johann Sebastian Bach: 6 Brandenburg Concertos / 4 Orchestral Suites - The English Concert / Trevor Pinnock | | | | | | | Product Promotions: | | | | | Description: | | All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed. | | | Product Details: | | | Audio CD Release Date:
| May 09, 1989 | | Studio:
| Archiv Produktion | | Composer:
| Johann Sebastian Bach | | Conductor:
| Trevor Pinnock | | Orchestra:
| The English Concert | | Number Of Discs:
| 3 | | Format:
| Box set | | Average Customer Rating:
|  based on 20 reviews |
| | | Track Listing: | | | Disc: 1 | | | 1. | Concerto No.1 BWV 1046: ohne Satzbezeichnung | | 2. | Concerto No.1 BWV 1046: Adagio | | 3. | Concerto No.1 BWV 1046: Allegro | | 4. | Concerto No.1 BWV 1046: Menuetto - Trio 1 - Polacca - Trio 2 | | 5. | Concert No.2 BWV 1047: ohne Satzbezeichnung | | 6. | Concert No.2 BWV 1047: Andante | | 7. | Concert No.2 BWV 1047: Allegro assai | | 8. | Concerto No.3 BWV 1048: ohne Satzbezeichnung | | 9. | Concerto No.3 BWV 1048: Adagio | | 10. | Concerto No.3 BWV 1048: Allegro | | 11. | Concerto No.4 BWV 1049: Allegro | | 12. | Concerto No.4 BWV 1049: Andante | | 13. | Concerto No.4 BWV 1049: Presto | | | Disc: 2 | | | 1. | Concerto No.5 BWV 1050: Allegro | | 2. | Concerto No.5 BWV 1050: Affettuoso | | 3. | Concerto No.5 BWV 1050: Allegro | | 4. | Concerto No.6 BWV 1051: ohne Satzbezeichnung | | 5. | Concerto No.6 BWV 1051: Adagio ma non tanto | | 6. | Concerto No.6 BWV 1051: Allegro | | 7. | Ouvertures No.1 BWV 1066: Ouverture | | 8. | Ouvertures No.1 BWV 1066: Courante | | 9. | Ouvertures No.1 BWV 1066: Gavotte 1-2 | | 10. | Ouvertures No.1 BWV 1066: Forlane | | 11. | Ouvertures No.1 BWV 1066: Menuet 1-2 | | 12. | Ouvertures No.1 BWV 1066: Bourree 1-2 | | 13. | Ouvertures No.1 BWV 1066: Passepied 1-2 | | | Disc: 3 | | | 1. | Ouverture No.2 BWV 1067: Ouverture | | 2. | Ouverture No.2 BWV 1067: Rondeau | | 3. | Ouverture No.2 BWV 1067: Sarabande | | 4. | Ouverture No.2 BWV 1067: Bourree 1-2 | | 5. | Ouverture No.2 BWV 1067: Polonaise | | 6. | Ouverture No.2 BWV 1067: Menuet | | 7. | Ouverture No.2 BWV 1067: Badinerie | | 8. | Ouverture No.3 BWV 1068: Ouverture | | 9. | Ouverture No.3 BWV 1068: Air | | 10. | Ouverture No.3 BWV 1068: Gavotte 1-2 | | 11. | Ouverture No.3 BWV 1068: Bourree | | 12. | Ouverture No.3 BWV 1068: Gigue | | 13. | Ouverture No.4 BWV 1069: Ouverture | | 14. | Ouverture No.4 BWV 1069: Bourree 1-2 | | 15. | Ouverture No.4 BWV 1069: Gavotte | | 16. | Ouverture No.4 BWV 1069: Menuet 1-2 | | 17. | Ouverture No.4 BWV 1069: Rejouissance | |
| | | Customer Reviews: | |
Average Customer Review:
 ( 20 customer reviews )
Write an online review and share your thoughts with other customers.
Most Helpful Customer Reviews
109 of 112 found the following review helpful:
The best authentic recording of the material.Aug 04, 1999
For the novice making a Bach purchase, you've come to the place. The Brandenbergs are Bach's most famous and readily enjoyable orchestral works. The main concern of purchasing this productions is if you actually WANT an authentic recording. The strings are Baroque instruments, not modern ones. They sound "thin" compared to modern instruments(preferable, in my opinion). The horns, especially noticeable in the #1 and #2, are Baroque horns without modern valves; the accuracy of the notes is not quite Pinnock quality (i.e.: Perfect). On the other hand, this recording is the authentic standard; I actually prefer the instruments to the modern ones. // The Suites are ADD, but the analog part was recorded in 1980 and is of extremely high reproduction quality. You WILL NOT notice a difference. The Harpsichord Concertos (BWV 1052-1065) recorded by the same group under the same label are ADD, equally high quality, and make a wise follow-up purchase.
47 of 49 found the following review helpful:
Sheer musicianship, unending sequence of delightsAug 20, 2004
By Leslie Richford
The idea of a "perfect recording" is, of course, chimerical. But Trevor Pinnock's "Brandenburg Concertos" and "Orchestral Suites" come pretty close to the mark. There are two factors which put this 3-CD set in the category "very special": One is the sheer musicianship of the young English Concert team. Every soloist seems to want to outdo the others in technical skill, tonal clarity and emotional verve. Listen to Pinnock himself on the harpsichord in the Brandenburg Concert No. 5; listen to Lisa Beznosiuk accompanying him on the traverse flute; listen to Simon Standage, Philip Pickett and Rachel Beckett in Concert No. 4 ... and so the list goes on. This is an unending sequence of instrumental delights, and only someone who dislikes Baroque period instruments on principle will fail to experience heights of enjoyment of this exquisite sound. Which brings me to the second factor: Seldom have I heard such a brilliant recording! Deutsche Grammophon is generally known for superior sound, but this 1982 piece of digital engineering (Brandenburg Concertos) surpasses anything I have ever heard even from this label: Purity, clarity, spaciousness and presence are uniquely combined to provide a listening experience which could hardly be topped.
The Orchestral Suite sound (analogue recording from 1979/1980) is only slightly less brilliant and also deserves great praise. I have listened to a number of rival recordings, but nothing captivates me quite like the the English Concert discs. The only slight question mark could perhaps be put behind the Sixth Brandenburg Concerto, which in its Adagio slow movement seems to lack a little fire. Generally, Pinnock has chosen tempi that are moderate, and although musicologists and interpreters since this recording (Goebel; Rampe) have argued cogently for faster rhythms, their efforts sound decidedly contrived in comparison with Pinnock's easy, flowing version which caresses the ear without betraying any of Bach's depth or humour. It would surprise me greatly if anyone who bought this CD-box ever regretted it.
24 of 24 found the following review helpful:
Outstanding period performancesFeb 20, 2007
By Joey Joe Joe Jr. Shabadoo
These recordings are excellent. Pinnock's Brandenburg concertos remain the standard for period instruments, offering an exceptional combination of musicality and authenticity. The Overtures are also well-done, although I still prefer the readings of Reinhard Goebel and Musica Antiqua Koln to these. Still, as a low-priced compilation of Bach's most popular orchestral works, this is an excellent set, and you could do much worse. Those who are new to classical music will find this set to be a great starting point.
As far as interpretation goes, Pinnock's ensemble features fast tempi but never to the point of sounding ridiculous; these are not "authentic for the sake of authentic" performances at all. The one notable exception is the slightly rushed opening of Overture No. 2, although this is not detrimental to the final product. The English Concert plays these works with great joy - listen to Brandenburg Concertos Nos. 2 & 3 in particular - but also with great respect. I have heard too many original instruments ensembles whip through these pieces as if they are burlesques, with overly blatty horns and sloppy out-of-synch strings, which I believe is insulting to Bach's legacy. This isn't pub music; things like tasteful phrasing and accenting don't need to be ignored just because a recording is "historically-informed". One final item worthy of note is Pinnock's abilities as a harpsichordist. His solo at the end of the first movement of Brandenburg No. 5 is the finest rendition I have heard, period. The only slight misfire in my opinion is Brandenburg No. 6; Pinnock takes the first movement a little too fast, and the viola da gambas sound just a little too urgent. I prefer some more space in this movement. That said, the next two movements are very fine and more than make up for it. For this concerto, I prefer the sublime 6th from Gustav Leonhardt's fine set.
In spite of the fact that the Brandenburg concertos were recorded using early digital technology, the DG engineers got it right and everything is presented in fine detail, right down to the harpsichord continuo. It seems as though the intimate settings of these small ensembles neutralized many of the problems of hollow, tinny sound that plagued the digital format in its early years. As for the Orchestral Suites, these were recorded using late 70's/early 80's analog technology and sound just as good, if not better than the Brandenburgs, with just a touch more brightness.
These recordings are integral for those who prefer period instrument performances, and this is one of the great pioneering period instrument ensembles out there. Recommended.
13 of 13 found the following review helpful:
A beauty.Apr 22, 2004
Like many baroque listeners, I'm a big fan of Trevor Pinnock. But even among a catalogue of such quality as Pinnock's, the Brandenburgs are special. As always with Pinnock, the orchestra is charged with concentration and joy, the sound quality is spectacular, and the harpsichord -- which can sound like rattling tin in a bad recording -- sparkles here in all the right places. This is one of my very favorite recording ever.
10 of 10 found the following review helpful:
Top Notch BrandenburgJan 07, 2007
By Picky Listener
There are tons of Brandenburg recordings out there. How they stack up, of course, is a matter of personal taste. But having listened to many, this one stands out. It's crisp, fresh, and brings out the power of the music. In far too many renditions of Bach, much gets lots. Not so here. Certainly better technology has made things easier over the years. We can hear what might have been muffled in the past. But more than that, this interpretation makes the work come alive. Well done Trevor Pinnock.
See all 20 customer reviews on Amazon.com
| | |
|
