The Bach Players | Bach arranging and arranged

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Classical: Early Music Classical: Bach Moods: Type: Vocal
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Bach arranging and arranged

by The Bach Players

J. S. Bach revisits Pergolesi, Mozart revisits J. S. Bach – The Bach Players animate all four composers with their fresh and sensitive approach.
Genre: Classical: Early Music
Release Date: 

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1. Fugue from the Well-tempered Clavier II, arranged for string quartet by W. A. Mozart, K 405: No. 1 in C Minor [BWV 871]
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2. Fugue from the Well-tempered Clavier II, arranged for string quartet by W. A. Mozart, K 405: No. 5 in D Minor [BWV 874]
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3. Fugue from the Well-tempered Clavier II, arranged for string quartet by W. A. Mozart, K 405: No. 2 in E Flat Major [BWV 876]
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4. Fugue from the Well-tempered Clavier II, arranged for string quartet by W. A. Mozart, K 405: No. 4 in D Minor [BWV 877]
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5. Fugue from the Well-tempered Clavier II, arranged for string quartet by W. A. Mozart, K 405: No. 3 in E Major [BWV 878]
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6. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: I. 'Tilge, Höchster, meine Sünden'
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7. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: II. 'Ist mein Herz in Missetaten'
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8. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: III. 'Missetaten, die mich drücken'
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9. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: IV. 'Dich erzürnt mein Tun und Lassen'
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10. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: V. 'Wer wird seine Schuld verneinen'
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11. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: VI. 'Sieh! ich bin In Sünd empfangen'
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12. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: VII. 'Sieh, du willst die Wahrheit haben'
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13. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: VIII. 'Wasche mich doch rein von Sünden'
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14. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: IX. 'Laß mich Freud und Wonne spüren'
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15. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: X. 'Schaue nicht auf meine Sünden'
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16. Stabat Mater in F Minor, arranged By J. S. Bach, BWV 1083: XI. 'Öffne Lippen, Mund und Seele'
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17. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: XII. 'Denn du willst kein Opfer haben'
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18. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: XIII. 'Laß dein Zion blühend dauern'
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19. Stabat Mater in F Minor, arranged by J. S. Bach, BWV 1083: XIV. 'Amen'
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20. Fugue from the Well-tempered Clavier II, arranged for string quartet, in A Minor [G Minor, BWV 885]
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21. Fugue from the Well-tempered Clavier II, arranged for string quartet, in G Major [A Flat Major, BWV 886]
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22. Fugue from the Well-tempered Clavier II, arranged for string quartet, in C Minor [B Flat Minor, BWV 891]
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23. Fugue from the Well-tempered Clavier II, arranged for string quartet, in C Major [B Major, BWV 892]
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ABOUT THIS ALBUM


Album Notes
What happens when great composers arrange each other’s works?
J. S. Bach gave Pergolesi’s Stabat Mater a new text and a new viola part, making a fresh piece that speaks both of Germany and Italy. Our performance features singers Rachel Elliott and Sally Bruce-Payne.
Mozart gave string players the pleasure of playing fugues from the Well-tempered Clavier II – fresh arrangements by The Bach Players complete the set of all the four-part fugues from this work.
Performers are: Rachel Elliott (soprano), Sally Bruce-Payne (alto), Nicolette Moonen, Sophie Barber & Rodolfo Richter (violin), Huw Daniel (violin / viola), Anne Schumann (viola), Alison McGillivray (cello), Elizabeth Bradley (double bass), Pawel Siwczak (organ).

'The performance is a delight from start to finish. All too often this music is spoilt by the uneven results and almost invariable rivalry stemming from the partnership of a soprano with a counter-tenor. Neither Rachel Elliott nor Sally Bruce-Payne is over-assertive or over-eager to take centre stage, much preferring to preserve the penitential context of the piece and the ethereal beauty of the music ... In short, no rival version that I have heard on disc, and there are several, matches this one. Well-judged tempos and an ideal recorded sound set the seal on a particularly satisfying issue. To hell with the credit crunch, go and buy it, at once.' (Nicholas Anderson, International Record Review, February 2009.)

"The main piece in this interesting programme is Bach’s own arrangement, or parody of Pergolesi’s celebrated Stabat Mater for soprano and alto voices with strings and continuo. Pergolesi completed it in 1735, shortly before his death in the following year, and Bach produced his version a decade or two later. The German-rhymed paraphrase is by an unidentified author and Bach, of necessity, had to make many small adjustments to accomodate the new text. Nevertheless, in the main he remained faithful to Pergolesi’s original, though enriching the texture with an independent viola strand.
The performance is a delight from start to finish. All too often this music is spoilt by the uneven results and almost invariable rivalry stemming from the partnership of a soprano with a counter-tenor. Neither Rachel Elliott nor Sally Bruce-Payne is over-assertive or over-eager to take centre stage, much preferring to preserve the penitential context of the piece and the ethereal beauty of the music. Both voices strike my ears as about ideal as you could get. Their lightly articulated phrasing, stylish decoration and, where occasion requires, even partnership are a constant delight. Indeed, I find their sublime duet ‘Denn du willst kein Opfer haben’ outstandingly sensitive in matters of expression and here, as throughout, they are accompanied by gently complementary string playing.
In short, no rival version that I have heard on disc, and there are several, matches this one. Well-judged tempos and an ideal recorded sound set the seal on a particularly satisfying issue. To hell with the credit crunch, go and buy it, at once."

Nicholas Anderson (International Record Review, February 2009)


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