Some of the concert hall was, of course, not on Johann Sebastian Bach’s time. But it does not in the day of his music.
Ecclesiastical or secular – to the vast majority of the remains Bach referred to the church. Therefore, it is something of an event when the Amsterdam Baroque performs at a packed concert hall with nothing but secular Bachmusik. Not least with the legendary Ton Koopman at the tip; a prominent figure in the tidstroget barockmusicerande.
in the industry has Koopman remained its 1700s faithful, while maintaining an emphasis on Bach. He is also an equally brilliant as a scholar organist, and it had been fun if he made an excursion up to the concert hall orgelbalkong.
there wasn’t much we heard of the energetically cembalospelande Ton Koopman. An unusual utbroderad (improvised?) solokadens in the groovy third Brandenburgkonserten was enough. But his kompande, often that would be the keys hot, compensates visually, and sending intense impulses both to the orchestra as us in the audience.
Koopman and his Amsterdam Baroque. So, it is also forty years ago he founded the ensemble with certainly countless brandenburgare and orchestral series through the decades. Actually, ”Uvertyrer with their suites”, which Bach originally called his four orchestral works, constitute the right of one listening with one gavotten after the other.
not here. With fascinating transparency in stämväven frilade Koopman & Co. the clever set of the strings which bear up the hard oboerna in the first orkestersviten. Here I found a previously never heard wealth of musical gestures and rhetoric: the hilarious fanfare, pilsnabba runs, questions and answers.
And the third orkestersvitens evergreen, it is often sönderarrangerade ”Air”, at the helm of course, its sublime idealgestalt, eteriskt suspended in the soft spring clouds.
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