Maxim Rysanov – Bach: Suites Nos. 2, 3 & 6 (2014) [FLAC 24bit, 96 kHz]

Maxim Rysanov – Bach: Suites Nos. 2, 3 & 6 (2014) [FLAC 24bit, 96 kHz]

It was with three of Bach’s cello suites, transcribed for the viola, that Maxim Rysanov made his début on BIS in 2010 – a disc which was greeted with critical acclaim: in The Strad it earned the magazine’s prestigious recommendation, and to the reviewer on the German web site Klassik.com it ‘clearly demonstrated that Rysanov knows how to decipher Bach’s musical language with the assurance of a master’. His colleague in Sunday Times agreed, but had one reservation: ‘Rysanov’s recording of Bach’s suites is near perfection; the only flaw being that he did not perform all six.’ With the present disc that flaw is now being rectified, and the set is complete. During the time that passed between the two discs, and also between the two sessions in which Suites Nos 2, 3 and 6 were recorded, Rysanov’s conception of how to perform and record Bach has not remained static – as he commented in connection with the first disc: ‘it shows my approach to Bach playing at this point in time, with its mix of different backgrounds, schools and experiences from working with other musicians’. Four years later, the same can be said about its sequel – a testament to the infinite possibilities that these works hold in terms of interpretation and performance. For the sixth suite, which is usually transposed a fifth down, to G major when performed by violists, Rysanov has opted to remain faithful to the original key: ‘the purity of D major reminds me of being on top of a mountain, that clear air and a silence so powerful that it makes the ears start to buzz…’ The suite was originally written for a five-stringed instrument, but is heard here on Rysanov’s own four-stringed viola built by Giuseppe Guadagnini in 1780.

Bach Collegium Japan, Masaaki Suzuki – Bach, J.S.: Secular Cantatas, Vol. 4 (2014) [FLAC 24bit, 96 kHz]

Bach Collegium Japan, Masaaki Suzuki – Bach, J.S.: Secular Cantatas, Vol. 4 (2014) [FLAC 24bit, 96 kHz]

The two works on this disc perfectly illustrate a particular type of secular cantata, the so-called dramma per musica. In such works the libretto is constructed dramatically, and the singers embody various roles, such as gods and other characters from antiquity, and allegorical figures. The parallel with opera is apparent, although the drammi per musica do without any scenic element. Bach primarily used the form in works intended for princely tributes or academic festivities: educated audiences could be expected to recognize the characters and literary traditions involved. Both cantatas recorded here are academic cantatas, composed in honour of eminent members of the faculty at the University of Leipzig. BWV 205 celebrates the name day of Dr August Friedrich Mller (3rd August 1725), and takes us to Aeolia, where Aeolus, the King of the Winds, holds the mighty autumn storms captive until it is time to let them loose on the world. To prevent any disruption of the celebrations for Dr Mller, the goddess Pallas, among others, entreats Aeolus to keep the storms in check for a while longer. Grudgingly he concedes to her wish, but only after singing an aria full of splendid bluster (Wie will ich lustig lachen). One year later, Bach composed the cantata BWV 207 for the appointment of Dr Gottlieb Kortte as professor extraordinarius. The young jurist enjoyed particular popularity among the young academics, who probably were the commissioners of the cantata. In this work it is virtues such as Diligence and Honour which take musical shape, singing the praise of the eminent academic. The cantata closes with a chorus, Kortte lebe, Kortte blhe!, wishing the new professor a long and flourishing life unfortunately to little avail, as Dr Kortte died only five years later, at the age of 33.

Sinfonia Lahti, Okko Kamu – Ahmas: Symphony No. 1 (2001–02) (Music Finland) (2016) [FLAC 24bit, 96 kHz]

Sinfonia Lahti, Okko Kamu – Ahmas: Symphony No. 1 (2001–02) (Music Finland) (2016) [FLAC 24bit, 96 kHz]

Harri Ahmas is a bassoon (Fagott) player in the Lahti SO, and, as such, he has participated in countless recordings for us. He has also aranged a lot of music included in that orchestra’s records of Finnish Psalms without singing – an as surprising as overwhelming sales success story). Not content with that, he is also a composer in his own right, and we are proud to be able to present to you his First Symphony, lovingly played by his orchestra under no less than Okko Kamu. This is, for the time being, a digital-only release, so this is the only chance you have to buy it until further notice.