Bach: Well-Tempered Clavier, Book 2 – Pierre-Laurent Aimard, Piano
This Pentatone set of Bach’s second book of The Well-Tempered Clavier arrives 11 years after Pierre-Laurent Aimard recorded Book I for Deutsche Grammophon. It was made by the same production team, in a different venue, and carries many of the earlier set’s hallmarks: rounded tone, relatively steady tempos, and restrained dynamics. Listeners who liked Book I and want Book II from the same pianist, can purchase this confidently—though some listeners may prefer a more volatile approach, such as Aaron Pilsan’s recent set.
Bach: Sonatas for Violin & Continuo – Isabelle Faust, Kristian Bezuidenhout, Kristin von der Goltz
In 2018, Isabelle Faust and Kristian Bezuidenhout released an album of Bach’s sonatas for violin and harpsichord that renewed interest in these often-neglected works. In this new installment, cellist Kristin von der Goltz joins on the bass line, adding depth and a firmer foundation. As always, Faust cherishes the sound of the gut strings and Baroque bow, meticulously calculating phrases, vibrato and ornaments, while Bezuidenhout and von der Goltz provide alert support—most moving in the slow Adagios. The recording is atmospheric without excessive reverberation.
Bach – Goldberg Variations – Antoine Morinière, Thibaut Garcia, Guitars
The Goldberg Variations have inspired numerous arrangements, including versions for string quartet, xylophone, accordion, and earlier guitar duos. This new guitar-duo arrangement by Antoine Morinière and Thibaut Garcia underscores how naturally a plucked instrument suits music written for the harpsichord. The duo find smart solutions of tempo and register so the polyphony speaks clearly—Variation 12’s counterpoint is crystal clear, and Variation 15 is shaped with sober gravity. For some, this will be an easier listen than a 70-minute harpsichord performance; in any case, it’s a thoughtful, well-played perspective on a masterpiece.
“B.A.C.H” – Martin Fröst, Clarinet
This is a program of arrangements drawing on Bach’s orchestral and choral music, mostly prepared by the performers themselves: Martin Fröst (clarinet), Jonas Nordberg (theorbo), Anastasia Kobekina (cello), Sébastien Dubé (double bass), Göran Fröst (viola), and Benny Andersson (piano). The most compelling tracks are the chamber-scaled ones for clarinet, theorbo, and double bass—such as the “Air” from the Orchestral Suite No. 3, the Adagio from the Sonata for Harpsichord and Viola da Gamba, and the Prelude No. 3 from The Well-Tempered Clavier, Book II. A mostly quiet, well-curated, and eloquently played set.
Bach – Cello Suites – Inbal Megiddo (Digital)
With so many period-instrument cycles of the Cello Suites in recent years, it’s refreshing to hear them on a “modern” instrument—in this case, a 1923 Giuseppe Fiorini. The cello’s big, slightly edgy sound suits Inbal Megiddo’s handling of the quicker dance movements. Stylistically, the playing is closer to Pierre Fournier or János Starker than to Anner Bylsma or Steven Isserlis; The slow movements are passionately played with generous vibrato, yet never feel excessive. Good recording too, made at Stella Maris recording studios in New Zealand.
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