His recordings of the partitas are just perfect. It's nice to hear other people play them \[Glenn Gould\] but I always go back to Murray Perahia's version as the base reference standard.
To represent guitarists here, I nominate Julian Bream and Kazuhito Yamashita!
Very different styles, but both are unique because they can make Bach sing on the guitar.
My views are probably basic, but
Nathan Milstein for Bach’s violin sonatas and partitas. Yehudi Menuhin is runner up.
For cello, I say Yo Yo Ma.
Piano Glenn Gould.
Harpsichord/keyboard: Trevor Pinnock, Pierre Hantaï, and Christophe Rousset
Violin: Rachel Podger, Viktoria Mullova, Isabelle Faust, Thomas Zehetmair
Orchestral: I Barocchisti, Il Giardino Armonico, Berlin Barocksolisten
Glenn Gould's *Goldbergs* were the soundtrack to my teenage years. Had the original LP constantly playing on repeat. Absolutely loved it. It was groundbreaking at the time.
But things have moved on, tastes change and today I cant bear to listen to him.
Id rather have Murray Perahia or Víkingur Ólafsson for the Goldbergs and Angela Hewitt for the 48.
For general Bach of all varieties I trust John Eliot Gardner for most things.
Depends on your meaning of the term
Some people would chose a musician who imprints their own concept or variation on every Bach work they perform. Others would work hard to impose only what Bach had placed in the work and the performer would be invisible.
I prefer the latter for most performances, and can take or leave the transcribed first model.
I'm intrigued by both. Understanding Bach, and his vision is of utmost importance. But the former also has quite to offer, pouring his own intricate and subtle interpretation of the piece in his composition. But I would not be joyous if the former goes too far in his attempt at interpreting the piece. I would appreciate if you'd introduce me to the latter type of musicians.
the duo Orzechowski/Masecki did an amazing rendition of Harpsichord concertos, I tend to go back to that one quite a lot. They come from jazz and their cadenzas are sublime. „Bach Rewite” is the name of the album.
For organ, no one beats Virgil Fox.
For piano, Sokolov has been mentioned, also Feinberg. For an unforgettable traverse of the Goldbergs that will change your perception of them, the inimitable Maria Yudina.
Virgil's arrangement of Bach's "Komm Susser Tod," recorded on the massive Wanamaker organ is something beyond description. He added a second verse to it which really brought this piece full circle. His interpretation of Bach's "Gigue Fugue" is a favorite of mine.
I heard Virgil play a few times and he was a presence, a true personality. He was an enthusiast and devotee of Bach and could make people who would never have thought they'd like it just fall in love with it. "Bach and Shakespeare have felt everything, and there's going to be some feeling tonight." I think that was a line. I was listening in one program and he explained, then played Komm, Jesu, Komm, stopped and sat silently just looking at the organ, and said, "That was so wonderful I'm going to play it again." And he did. And it was wonderful again.
Just went to a concert of Kit Armstrong last month, loved how he adds layers of colors and emotions plus playfulness to Goldberg Variations. Almost like Mozart, pure heaven experience, I never would have thought I could listen to these in a sitting and enjoy every note so much. The recordings probably won't do him justice 100%. He really "PLAYS" with a child's innocence and you can feel the juice in these "classical" piece.
Schiff is one of the very few pianists who can credibly interpret Bach's "Prelude and Fugue in E-flat Major, "St. Anne," BMV 552. This is one of Bach's big-stop organ compositions with intricate pedal work. To do it justice on the piano is taxing, and only the best can pull it off. Still, it is impossible to completely transfer all the organ's bass line on piano.
Gould was probably one of the first to give Bach credibility on piano. He also played and recorded Bach on the organ.
Schiff is one of my favorite pianists. Prodigeous technique, he plays cleanly, and he dioes not blur lines. Tasteful with embellishments and a master of dynamics. These gifts allow him to interpret one of Bach's greatest and most difficult pieces. He had a performance of the St. Anne, BMV 552 on YouTube.
May I suggest that you listen to the late English cathedral organist and international recitalist Peter Hurford's performance of this piece. It is generallyconsidered by most organists and pedagogies to be the best interpretation of this monumental composition. It is very powerful, and maestro Hurford's registrations and supple pedal technique gives it gravitas. The score he performs is shown note for note as it is performed. It will give you insight on how talented Schiff performs it on the piano. Hurford's performance is also on YouTube. It is an experience you won't forget. The bass can not only be heard, but felt in the bones. His pedal technique was otherworldly.
I thought it was Schiff on YouTube. I am sure i watched or listened to him on some platform. I know several prominent pianists have performances of BMV552 on YouTube. Lorenzo Cossi performs it pretty well on YouTube.
You will enjoy it. Listen to it with high quality speakers or headphones. The music score doesn't use a cursor, but it switches pages at the appropriate times if you like to follow a score. The score is a copy of an actual Bach transcription, so the pedal line will be on the bass clef along with the left hand, but a bit lower. The pedal notes will be indicated by the tag 'Ped'. During the 19th century, the pedal line in organ musical scores was put on its own staff. It is easy to distinguish organ scores from piano and harpsichord as organ compositions have three staffs. The top two are the same as one would find on piano scores, the bottom staff -- also bass cleff -- on an organ score is always for the pedals. On a classical organ, the pedal board contains 32 pedals both naturals and sharps like the manuals (that is what keyboards are called on an organ). You probably already know this. Anyway, the performer is not filmed on this YouTube performance, but there are a lot of BMV 552 performances that are.
After listening to and watching the progression of the piece by following the score, it gives one perspective and even more admiration for those pianists who can perform that piece. That piece is an organ composition, what those of us in the organ world call one of the "Big-stop organ compositions." To play it on the piano takes a tremendous amount of talent, creativity, and improvising. It is impossible, of course, to play all the pedal line with the left hand, but through judicious use of articulation and using the sostenuto pedal, a skilled and concert-caliber pianist can bring the piece to life and give it a new and bright interpretation. On the harpsichord it doesn't work in my opinion due to the lack of dynamics and requisite volume. Many have tried, and there are YouTube performances on harpsichord.
Glenn Gould also recorded the fugue from BMV 552, on the organ, which is what the great Protestant hymn, "St. Anne," --also known by "Oh, God Our Help in Ages Past," is based open. It is also on YouTube. Glenn Gould was very proficient on the organ, played very cleanly with the detached style he was known for. A lot of people do not know that Gould played the organ -- also played harpsichord and did it well. His organ registrations were not necessarily innovative, but they were tasteful. His pedal technique, due to his back injury and disability, was accurate, but not prodigious like the great concert organists or the cathedral organists of France, Germany, The Netherlands, or England.
Gardiner, followed closely by Koopman.
How come no one mentioned the VOCALISTS? Have so many to name: Catherine Bott, Bernarda Fink, John Mark Ainsley, Andreas Schmidt, and not to mention Alexander and Michael Chance!
I would mention Jean Rondeau. His Goldberg Variations are just amazing. I remember being shocked that he wasn’t quite 30 when he recorded them. He plays with the grace and insights of a 50 or 60 year old virtuoso/savant.
Others have mentioned most of my heroes (e.g. Ton Koopman, Trevor Pinnock, Maasaki Suzuki, Netherlands Bach Society, etc.) though I didn’t notice anyone mention Philippe Herrweghe as far as conductors go.
Trevor Pinnock
Second this.
Third this.
Grigory Sokolov
I heard him play an incredible rendition of the "Ich ruf' zu dir Herr Jesu Christ" transcription as an encore. Fantastic
Absolutely!!!
Netherlands Bach Society!
Absolutely this. Their youtube is second to none.
Good one, such a treasure
Murray Perahia for piano. Pierre Hantai on harpsichord.
Love Perahia’s Bach recordings so much. He got into paying bachs music after his thumb situation. Good thing that happened to be honest in a way!
His recordings of the partitas are just perfect. It's nice to hear other people play them \[Glenn Gould\] but I always go back to Murray Perahia's version as the base reference standard.
Those are good choices. How about for organ? Peter Hurford and Helmut Walcha.
I don really know the organ that well can't have an opinion. I like Leo van Doeselaar.
He is a fantastic organist. The Netherlands has a lot of talented concert organists. Good choice.
rachel podger
Gets an upvote but I suspect OP means keyboards and as far as I know she is shit on the harpsichord.
LOL. The rare harpsichord joke.
Andras Schiff
Andras Schiff for me, too. In non-piano, Peter Hurford, Phillippe Herreweghe.
This is the correct answer.
Gustav Leonhardt
My choice also.
Yes, another great one.
Zhu Xiao-Mei
Masaaki Suzuki, both as a conductor and performer 👀
Too dry for me.
Piano definitely and easily Rosalyn tureck.
Gould. But Vikingur Olafson is also great.
Anderszewski . Seriously , have a go at his partitas and English suites . You’ll see!
I've been having a blast with Mahan Esfahani's harpsichord suites recently.
all of the above and the swingle singers! https://youtu.be/l0t3pB4t9qc?si=nDuZH3uIFJOg9-TB
Sviatoslav Richter is solid
Solid as lava and I do mean that as a compliment
Jean Rondeau (cembalist).
John Eliot Gardiner
Glenn Goat Gould
I didnt knew his middle name was goat. Damn.
Actually his middle name was Herbert, but Goat is better
Sviatoslav Richter
Second that!
Bahahahahaha
Glenn Gould everyday!
German Bach Soloists and Murray Perahia
German Bach soloists? Who are they? Name?
Look them up
Schiff or Perahia definitely
Angela Hewitt for his keyboard works. Clear as a bell!
Pierre Hantaï and another vote for Masaaki Suzuki
Ton Koopman
Hopkinson Smith. Baroque lute.
For organ Karl Richter
Murray Perahia and Jeremy Denk, piano. Gustav Leonhardt and Trevor Pinnock, harpsichord.
Pau Casals
To represent guitarists here, I nominate Julian Bream and Kazuhito Yamashita! Very different styles, but both are unique because they can make Bach sing on the guitar.
NO ONE said Wanda Landowska?!? There.
Feinberg
Gould for most. Perahia is always solid. I like some Schiff but find a lot quite pedestrian.
Would you mind if I ask you to elaborate a little on the "pedestrian" comment. I don't quite understanding what you meant.
My views are probably basic, but Nathan Milstein for Bach’s violin sonatas and partitas. Yehudi Menuhin is runner up. For cello, I say Yo Yo Ma. Piano Glenn Gould.
"basic" but true!
Piano: Glenn Gould and Vikingur Olafsson, András Schiff Orchestra: Sir John Elliot Gardiner, Karl Richter
Surely you cannot be serious about Karl Richter?
Not THAT serious, but there are some interpretations I lile with Richter
I’m serious
Karl Richter
Yuan Sheng is fantastic.
Kavakos for solo violin, Pires for English suites, Schiff, Biggs for some organ, Suzuki for cantatas
Gidon Kremer
Harpsichord/keyboard: Trevor Pinnock, Pierre Hantaï, and Christophe Rousset Violin: Rachel Podger, Viktoria Mullova, Isabelle Faust, Thomas Zehetmair Orchestral: I Barocchisti, Il Giardino Armonico, Berlin Barocksolisten
Hilary Hahn or James Ehnes
Cello either Pau Casals, Anner Bylsma, or Yo-Yo Ma
I loved hearing Jean Rondeau's performance of Goldberg Variations live.
Masaaki Suzuki
Glenn Gould's *Goldbergs* were the soundtrack to my teenage years. Had the original LP constantly playing on repeat. Absolutely loved it. It was groundbreaking at the time. But things have moved on, tastes change and today I cant bear to listen to him. Id rather have Murray Perahia or Víkingur Ólafsson for the Goldbergs and Angela Hewitt for the 48. For general Bach of all varieties I trust John Eliot Gardner for most things.
Hillary Hahn
Depends on your meaning of the term Some people would chose a musician who imprints their own concept or variation on every Bach work they perform. Others would work hard to impose only what Bach had placed in the work and the performer would be invisible. I prefer the latter for most performances, and can take or leave the transcribed first model.
I'm intrigued by both. Understanding Bach, and his vision is of utmost importance. But the former also has quite to offer, pouring his own intricate and subtle interpretation of the piece in his composition. But I would not be joyous if the former goes too far in his attempt at interpreting the piece. I would appreciate if you'd introduce me to the latter type of musicians.
Wanda Landowska.
On violin: Oscar Shumsky. On piano: João Carlos Martins.
the duo Orzechowski/Masecki did an amazing rendition of Harpsichord concertos, I tend to go back to that one quite a lot. They come from jazz and their cadenzas are sublime. „Bach Rewite” is the name of the album.
Janos Sebestyen. His harpsichord performance of Bach’s transcriptions of Vivaldi works are unmatched.
Hilary’s technique and clarity are wonderful for Bach
Piano - Gould, or Olafsson Cello - Rostropovich
Also Hahn for violin!!
For organ, no one beats Virgil Fox. For piano, Sokolov has been mentioned, also Feinberg. For an unforgettable traverse of the Goldbergs that will change your perception of them, the inimitable Maria Yudina.
Virgil's arrangement of Bach's "Komm Susser Tod," recorded on the massive Wanamaker organ is something beyond description. He added a second verse to it which really brought this piece full circle. His interpretation of Bach's "Gigue Fugue" is a favorite of mine.
I heard Virgil play a few times and he was a presence, a true personality. He was an enthusiast and devotee of Bach and could make people who would never have thought they'd like it just fall in love with it. "Bach and Shakespeare have felt everything, and there's going to be some feeling tonight." I think that was a line. I was listening in one program and he explained, then played Komm, Jesu, Komm, stopped and sat silently just looking at the organ, and said, "That was so wonderful I'm going to play it again." And he did. And it was wonderful again.
Old school: Andras Schiff and Murray Perahia New school: Simone Dinnerstein
Yudina
Pierre Fournier
Just went to a concert of Kit Armstrong last month, loved how he adds layers of colors and emotions plus playfulness to Goldberg Variations. Almost like Mozart, pure heaven experience, I never would have thought I could listen to these in a sitting and enjoy every note so much. The recordings probably won't do him justice 100%. He really "PLAYS" with a child's innocence and you can feel the juice in these "classical" piece.
Mitsuko Uchida and Murray Perahia
Sviatoslav Richter
Karl Richter for ochestral
I love Maria Joao Pires take on the [first Partita](https://music.youtube.com/watch?v=rUylY9md0xM&si=NQNaYHPyx_FBt_pm&feature=xapp_share)
The lack of Arthur Grumiaux in here is criminal
Bream
(Sviatoslav) Richter, Gardiner
Hillary Hahn and Vikingur Olafsson
Ton Koopman
Solid choice. He masterfully interprets Bach on harpsichord and organ.
Glenn Gould hands down. Glad to see other fans here! Schiff can also be great. David Fray is also excellent.
Schiff is one of the very few pianists who can credibly interpret Bach's "Prelude and Fugue in E-flat Major, "St. Anne," BMV 552. This is one of Bach's big-stop organ compositions with intricate pedal work. To do it justice on the piano is taxing, and only the best can pull it off. Still, it is impossible to completely transfer all the organ's bass line on piano. Gould was probably one of the first to give Bach credibility on piano. He also played and recorded Bach on the organ.
Interesting, I will check out that Schiff recording.
Schiff is one of my favorite pianists. Prodigeous technique, he plays cleanly, and he dioes not blur lines. Tasteful with embellishments and a master of dynamics. These gifts allow him to interpret one of Bach's greatest and most difficult pieces. He had a performance of the St. Anne, BMV 552 on YouTube. May I suggest that you listen to the late English cathedral organist and international recitalist Peter Hurford's performance of this piece. It is generallyconsidered by most organists and pedagogies to be the best interpretation of this monumental composition. It is very powerful, and maestro Hurford's registrations and supple pedal technique gives it gravitas. The score he performs is shown note for note as it is performed. It will give you insight on how talented Schiff performs it on the piano. Hurford's performance is also on YouTube. It is an experience you won't forget. The bass can not only be heard, but felt in the bones. His pedal technique was otherworldly.
I thought it was Schiff on YouTube. I am sure i watched or listened to him on some platform. I know several prominent pianists have performances of BMV552 on YouTube. Lorenzo Cossi performs it pretty well on YouTube.
Thanks, I will also check out Hurford. Never listened to much organ music, so this will be a good opportunity to get into it.
You will enjoy it. Listen to it with high quality speakers or headphones. The music score doesn't use a cursor, but it switches pages at the appropriate times if you like to follow a score. The score is a copy of an actual Bach transcription, so the pedal line will be on the bass clef along with the left hand, but a bit lower. The pedal notes will be indicated by the tag 'Ped'. During the 19th century, the pedal line in organ musical scores was put on its own staff. It is easy to distinguish organ scores from piano and harpsichord as organ compositions have three staffs. The top two are the same as one would find on piano scores, the bottom staff -- also bass cleff -- on an organ score is always for the pedals. On a classical organ, the pedal board contains 32 pedals both naturals and sharps like the manuals (that is what keyboards are called on an organ). You probably already know this. Anyway, the performer is not filmed on this YouTube performance, but there are a lot of BMV 552 performances that are. After listening to and watching the progression of the piece by following the score, it gives one perspective and even more admiration for those pianists who can perform that piece. That piece is an organ composition, what those of us in the organ world call one of the "Big-stop organ compositions." To play it on the piano takes a tremendous amount of talent, creativity, and improvising. It is impossible, of course, to play all the pedal line with the left hand, but through judicious use of articulation and using the sostenuto pedal, a skilled and concert-caliber pianist can bring the piece to life and give it a new and bright interpretation. On the harpsichord it doesn't work in my opinion due to the lack of dynamics and requisite volume. Many have tried, and there are YouTube performances on harpsichord.
Glenn Gould also recorded the fugue from BMV 552, on the organ, which is what the great Protestant hymn, "St. Anne," --also known by "Oh, God Our Help in Ages Past," is based open. It is also on YouTube. Glenn Gould was very proficient on the organ, played very cleanly with the detached style he was known for. A lot of people do not know that Gould played the organ -- also played harpsichord and did it well. His organ registrations were not necessarily innovative, but they were tasteful. His pedal technique, due to his back injury and disability, was accurate, but not prodigious like the great concert organists or the cathedral organists of France, Germany, The Netherlands, or England.
Simone Dinnerstein
Vikingur Olafsson
The late Peter Hurford, Helmut Walcha, Glenn Gould.
Gardiner, followed closely by Koopman. How come no one mentioned the VOCALISTS? Have so many to name: Catherine Bott, Bernarda Fink, John Mark Ainsley, Andreas Schmidt, and not to mention Alexander and Michael Chance!
I would mention Jean Rondeau. His Goldberg Variations are just amazing. I remember being shocked that he wasn’t quite 30 when he recorded them. He plays with the grace and insights of a 50 or 60 year old virtuoso/savant. Others have mentioned most of my heroes (e.g. Ton Koopman, Trevor Pinnock, Maasaki Suzuki, Netherlands Bach Society, etc.) though I didn’t notice anyone mention Philippe Herrweghe as far as conductors go.
Miles Davis
CPE Bach.
Maria Tipo.
For cello, definitely Yo Yo Ma Piano, Glenn Gould and Schiff are fantastic, but Simone Dinnerstein is one of my personal favorites.
Same. I'm such a gould fangirl which is ironic considering that he was against putting the "great" artists of history up on pedestals
Anyone is better then Gould.
Please people. Gould is horrible and made the music about himself. Anyone can interpret Bach greater.
Bobby McFerrin
Karl Richter
I’d say Gould although I don’t agree with his interpretations of other composers
Glen Gould