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Keith Jarrett - JS Bach - Sonatas (1992) {RCA} + 3 Sonaten fur Viola da Gamba und Cembalo (1994) {ECM}

Posted By : ruskaval | Date : 11 May 2013 17:28:28 | Comments : 1 |
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Keith Jarrett - JS Bach - Sonatas (1992) {RCA} + 3 Sonaten fur Viola da Gamba und Cembalo (1994) {ECM}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 631 Mb | MP3 @320 -> 238 Mb
Full Artwork @ 300 dpi (jpg) -> 35 Mb | 5% repair rar
© 1992, 1994 RCA / BMG / ECM | 09026 61274 2 / ECM New Series 1501
Classical / Harpsichord / Flute / Viola

If you have any doubt that the fipple flute is an acceptable substitute for the specified transverse one in these works, this recording could allay it. What is lost is the warm, intimate, breathy, pitch-bending sound of the minimally-keyed wooden instrument, but what is gained is the luculent clarity and (in Petri's hands) spot-on accuracy of the recorder. Instruments at period pitch (which for her own good reasons Petri does not use) would restore some of the warmth, but rarely can you have everything—and here you have so much to be grateful for.



Keith Jarrett & Michala Petri - JS Bach - Sonatas (1992) {RCA}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 386 Mb | MP3 @320 -> 160 Mb
Full Artwork @ 300 dpi (jpg) -> 18 Mb | 5% repair rar
© 1992 RCA / BMG | 09026 61274 2
Classical / Harpsichord / Flute

Her RCA recording of Handel sonatas (9/91) unveiled a 'new-born' Petri, with immediate rather than programmed responses, the consequence of her partnership with Jarrett, to whose jazz-musical alter ego such things are second nature, and the sea change is equally apparent here.

The performances are free from distracting mannerisms, flowing as naturally as speech and with recorded balance that supports the players' view that even BWV1033-5 are genuine partnerships. The few octave transpositions in the flute/recorder lines, whether enforced or judicious should disturb no one. Though many tempos are on the brisk side, the focused sound of the recorders and Petri's fluency prevent them from seeming hurried. Both players add a good deal of embellishment, but do not 'parrot' one another mechanically, and know when to leave a good tune to speak for itself, thus Menuetto II in BWV1033 is treated to a delicious, free-running variant that touches the original tangentially in the right places, but the Siciliano in BWV1031 is given with affecting simplicity, good taste is invariably the order of the day.

The Petri/Jarrett partnership was made through social pleasure, not in heaven, but it is one to be celebrated; their fresh-faced account of these sonatas merits a place in any collection, whatever others may already be there.


Personnel:
Michala Petri flutes, recorder
Keith Jarrett harpsichord

tracklist:
01. Sonata for Flute and Harpsichord in B minor, BWV 1030 by Johann Sebastian Bach
Performer: Keith Jarrett (Harpsichord), Michala Petri (Recorder)
Period: Baroque
Written: ?1738; Leipzig, Germany

02. Sonata for Flute and Harpsichord in E flat major, BWV 1031 by Johann Sebastian Bach
Performer: Keith Jarrett (Harpsichord), Michala Petri (Recorder)
Period: Baroque
Written: circa 1734; Leipzig, Germany

03. Sonata for Flute and Harpsichord in A major, BWV 1032 by Johann Sebastian Bach
Performer: Keith Jarrett (Harpsichord), Michala Petri (Recorder)
Period: Baroque
Written: ?1724; Leipzig, Germany

04. Sonata for Flute and Harpsichord in C major, BWV 1033 by Johann Sebastian Bach
Performer: Michala Petri (Recorder), Keith Jarrett (Harpsichord)
Period: Baroque
Written: Germany

05. Sonata for Flute and Basso Continuo in E minor, BWV 1034 by Johann Sebastian Bach
Performer: Keith Jarrett (Harpsichord), Michala Petri (Recorder)
Period: Baroque
Written: circa 1717-1720; ?Cöthen, Germany

06. Sonata for Flute and Basso Continuo in E major, BWV 1035 by Johann Sebastian Bach
Performer: Michala Petri (Recorder), Keith Jarrett (Harpsichord)
Period: Baroque
Written: 1717-1720; ?Cöthen, Germany

EAC log
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 4. September 2008, 16:35

Jarrett - Petri / Bach Recorder Sonatas

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Read offset correction : 48
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Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface

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----------------------------

Keith Jarrett & Kim Kashkashian - JS Bach - 3 Sonaten fur Viola da Gamba und Cembalo (1994) {ECM}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 244 Mb | MP3 @320 -> 78 Mb
Full Artwork @ 300 dpi (jpg) -> 17 Mb | 5% repair rar
© 1994 ECM Records | ECM New Series 1501
Classical / Cembalo / Viola

The exact dates of Johann Sebastian Bach’s Sonatas for Viola da Gamba and Harpsichord are contestable. We do know they were composed sometime in the 1740s, making their unity as a set tenuous at best. Still, on their own, they glisten with the genius that bore them. Though more commonly played on the period instruments for which they were written, one may still find the occasional cello filling in. On this recording, we find a unique substitution in the viola, which shares hardly more than a name with its predecessor. This is accomplished by transposing any notes below the viola’s range, making for a relatively buoyant sound. Purists take note: this is, in my humble opinion, the finest interpretation of these much-recorded sonatas. Admittedly, this opinion is as much informed by the fact that it is the first I ever heard of these works as it is by the stellar musicianship that follows Keith Jarrett and Kim Kashkashian wherever they go.

The opening Sonata in G BWV 1027 is a warm embrace of Baroque elegance. Jarrett captivates from bar one, his continuo providing bold bass lines as Kashkashian’s deeply sustained tones guide us through foggy waters. The second movement, while airy enough, manages to support its fill of weighty trills and rhythmic spontaneity. The Andante establishes an even tighter bond as Kashkashian dots the i’s and crosses the t’s of Jarrett’s solid arpeggios. A rather bold intimacy is maintained throughout, lending the movement an almost orchestral fullness. It is at such moments—i.e., those where expansive instrumental coverage is implied through rudimentary means—that Bach’s creativity sparkles. This tightly knit synergy carries over into the final movement as the viola harmonizes with Jarrett’s sharply syncopated left hand before doing the same with his right. The harpsichord then takes the lead as the viola provides further diacritical accents to a smooth finish.

The lush Adagio that begins the Sonata in D BWV 1028 glows like a dying fire. It dangles on an unresolved note before diving headlong into the magisterial Allegro that follows. Another beautiful Andante awaits, this time led strongly by the viola, again harmonizing with the left hand, while another confident lead-in to the final Allegro births contrapuntal bliss.

The real tour de force here, however, is the Sonata in G minor BWV 1029 that closes out the trio. The angled playing of the opening Vivace describes an exultant rejuvenation. The viola seems to find purchase in every nook and cranny carved out by the harpsichord in anticipation of the potent repeat; every precisely measured note of the Adagio sends off vibrations of the utmost gorgeousness; and the concluding Allegro is introduced by a fibrous dance which is immediately spun by the viola into an indestructible c(h)ord. The riveting descending motif at the end rings in the heart long after its completion.

The range of sound from Jarrett and Kashkashian impresses as the powerful duo navigates Bach’s intricate contours with active precision and an overarching sense of freedom. Kashkashian’s warm, sandy tone meshes so well with Jarrett’s lively harpsichord that one would seem the symbiote of the other. Upbeat tempos and a gracious resistance to filler material clock the album at a modest 39 minutes. But with such enthralling music to be had, captured at the height of passion, the urge to listen afresh is only intensified. Easily one of ECM’s finest, and a resilient exemplar of the label’s fresh take on the tried and true.


Personnel:
Kim Kashkashian viola
Keith Jarrett cembalo

tracklist:
01. Sonate G-Dur BWV 1027 - Adagio
02. Sonate G-Dur BWV 1027 - Allegro Ma Non Troppo
03. Sonate G-Dur BWV 1027 - Andante
04. Sonate G-Dur BWV 1027 - Allegro Moderato
05. Sonate D-Dur BWV 1028 - Adagio
06. Sonate D-Dur BWV 1028 - Allegro
07. Sonate D-Dur BWV 1028 - Andante
08. Sonate D-Dur BWV 1028 - Allegro
09. Sonate G-Moll BWV 1029 - Vivace
10. Sonate G-Moll BWV 1029 - Adagio
11. Sonate G-Moll BWV 1029 - Allegro

EAC log
Exact Audio Copy V0.99 prebeta 3 from 28. July 2007

EAC extraction logfile from 12. March 2010, 13:31

Keith Jarrett, Kim Kashkashian / J.S. Bach, 3 Sonaten fьr Viola da Gamba und Cembalo

Used drive : HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : No
Used interface : Installed external ASPI interface

Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d


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Peak level 92.1 %
Range quality 99.9 %
Copy CRC 464EE356
Copy OK

No errors occurred


AccurateRip summary

Track 1 not present in database
Track 2 not present in database
Track 3 not present in database
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None of the tracks are present in the AccurateRip database

End of status report




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Keith Jarrett & Michala Petri - JS Bach - Sonatas (1992) {RCA}

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Keith Jarrett & Kim Kashkashian - JS Bach - Sonaten fur Viola da Gamba und Cembalo (1994) {ECM}

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Posted By: libra_winmx Date: 15 May 2013 00:14:10
Hi, my friend ruskaval,

THANKS A LOT, man!!!
Gracias,

Libra, from Brazil, Rio de Janeiro