Johan Sebastian Bach.Keith Jarrett. The French Suites (1991)

French Suite, for keyboard No. 1 in D minor, BWV 812 (BC L19)
French Suite, for keyboard No. 2 in C minor, BWV 813 (BC L20)
French Suite, for keyboard No. 3 in B minor, BWV 814 (BC L21)
French Suite, for keyboard No. 4 in E flat major, BWV 815 (BC L22)
French Suite, for keyboard No. 5 in G major, BWV 816 (BC L23)
French Suite, for keyboard No. 6 in E major, BWV 817 (BC L24)

1. French Suite No.1 in D minor, BWV 812 - 1. Allemande 4:05
2. French Suite No.1 in D minor, BWV 812 - 2. Courante 2:36
3. French Suite No.1 in D minor, BWV 812 - 3. Sarabande 3:32
4. French Suite No.1 in D minor, BWV 812 - 4. Menuet I 1:17
5. French Suite No.1 in D minor, BWV 812 - 5. Menuet II 2:26
6. French Suite No.1 in D minor, BWV 812 - 6. Gigue 2:53
7. French Suite No.2 in C minor, BWV 813 - 1. Allemande 2:54
8. French Suite No.2 in C minor, BWV 813 - 2. Courante 2:35
9. French Suite No.2 in C minor, BWV 813 - 3. Sarabande 3:26
10. French Suite No.2 in C minor, BWV 813 - 4. Air 1:55
11. French Suite No.2 in C minor, BWV 813 - 5. Menuet I-II 1:34
12. 6. Gigue 2:15
13. French Suite No.3 in B minor, BWV 814 - 1. Allemande 3:19
14. French Suite No.3 in B minor, BWV 814 - 2. Courante 2:46
15. French Suite No.3 in B minor, BWV 814 - 3. Sarabande 3:23
16. French Suite No.3 in B minor, BWV 814 - 4. Anglaise 1:53
17. French Suite No.3 in B minor, BWV 814 - 5. Menuet 1:36
18. French Suite No.3 in B minor, BWV 814 - 6. Trio, Menuet da capo 2:01
19. French Suite No.3 in B minor, BWV 814 - 7. Gigue 2:00

1. French Suite No.4 in E flat, BWV 815 - 1. Allemande 2:44
2. French Suite No.4 in E flat, BWV 815 - 2. Courante 2:35
3. French Suite No.4 in E flat, BWV 815 - 3. Sarabande 2:27
4. French Suite No.4 in E flat, BWV 815 - 4. Gavotte 1:29
5. French Suite No.4 in E flat, BWV 815 - 5. Menuet 1:07
6. French Suite No.4 in E flat, BWV 815 - 6. Air 2:14
7. French Suite No.4 in E flat, BWV 815 - 7. Gigue 2:26
8. French Suite No.5 in G, BWV 816 - 1. Allemande 4:02
9. French Suite No.5 in G, BWV 816 - 2. Courante 2:03
10. French Suite No.5 in G, BWV 816 - 3. Sarabande 4:40
11. French Suite No.5 in G, BWV 816 - 4. Gavotte 1:25
12. French Suite No.5 in G, BWV 816 - 5. Bourrée 1:37
13. French Suite No.5 in G, BWV 816 - 6. Loure 2:12
14. French Suite No.5 in G, BWV 816 - 7. Gigue 3:52
15. French Suite No.6 in E, BWV 817 - 1. Allemande 3:29
16. French Suite No.6 in E, BWV 817 - 2. Courante 1:57
17. French Suite No.6 in E, BWV 817 - 3. Sarabande 3:04
18. French Suite No.6 in E, BWV 817 - 4. Gavotte 1:19
19. French Suite No.6 in E, BWV 817 - 5. Polonaise 1:37
20. French Suite No.6 in E, BWV 817 - 6. Bourrée 1:47
21. French Suite No.6 in E, BWV 817 - 7. Menuet 1:19
22. French Suite No.6 in E, BWV 817 - 8. Gigue 2:27

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The_notebook_of_Anna_Magdalena_Bach

The notebooks of Anna Magdalena Bach, J.S. Bach’s second wife, served as both instructional material and as a family diary, containing entries and selections by various members over many years. This double album features recordings of each entry in the notebooks, including pieces for solo harpsichord, arias, and chorales, giving a rare glimpse into the private musical life of this illustrious family.

Johann Sebastian Bach

French Suite, for keyboard No. 5 in G major, BWV 816 (BC L23): Anna Magdalena Bach Clavier-Büchlein
1980
17:05
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Jesus, meine Zuversicht, chorale prelude for organ (Anna Magdalena Clavier-Büchlein no. 1/8), BWV 728 (BC K101): Anna Magdalena Bach Clavier-Büchlein
1980
1:50
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Minuet fait par Mons. Böhm, for keyboard No. 1 in G major (WFN 11, AMN I/11), BWV 841 (BC L176/1)
1980
1:14
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Minuet for keyboard No. 3 in F major (AMN II/3; doubtful), BWV Anh. 113: Anna Magdalena Bach Clavier-Büchlein
1980
1:32
Performed by:
Igor Kipnis, More Performance Details...
Christian Pezold

Minuet, for keyboard No. 1 in G major (Anna Magdalena Notebook II/1), BWV Anh. 114: Anna Magdalena Bach Clavier-Büchlein
1980

Performed by:
Igor Kipnis, More Performance Details...
Christian Pezold

Minuet, for keyboard No. 5 in G minor (Anna Magdalena Notebook II/5), BWV Anh. 115: Anna Magdalena Bach Notebook No 5
1980

Performed by:
Igor Kipnis, More Performance Details...
François Couperin

6e ordre for harpsichord (Pièces de clavecin, II): Anna Magdalena Bach Notebook No 6
1980
5:05
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Minuet for keyboard No. 7 in G major (AMN II/7; doubtful), BWV Anh. 116: Anna Magdalena Bach Notebook No 7
1980
1:47
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Polonaise for keyboard in F major (AMN II/8ab, doubtful), BWV Anh. 117ab: Anna Magdalena Bach Notebook No 8a/b
1980
1:14
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Minuet for keyboard No. 9 in B flat major (AMN II/9; doubtful), BWV Anh. 118: Anna Magdalena Bach Notebook No 9
1980
1:21
Performed by:
Igor Kipnis, More Performance Details...
Carl Philipp Emanuel Bach

Polonaise, for keyboard in G minor (AMN II/10, attributed), BWV Anh. 119: Anna Magdalena Bach Notebook No 10
1980
1:02
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Wer nur den lieben Gott lässt walten (IV), chorale prelude for organ (WFN 3, AMN II/11), BWV 691 (BC K99): Anna Magdalena Bach Notebook No 11
1980
1:42
Performed by:
Igor Kipnis, Benjamin Luxon, Judith Blegen, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Gib dich zufrieden und sei stille (I), sacred song for voice & continuo, BWV 511 (BC 214a): Anna Magdalena Bach Notebook No 12
1980
1:01
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Gib dich zufrieden und sei stille (II), sacred song for voice & continuo, BWV 512 (BC 214b): Anna Magdalena Bach Notebook No 13b
1980
1:12
Performed by:
Igor Kipnis, Benjamin Luxon, Judith Blegen, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Minuet for keyboard No. 14 in A minor (AMN II/14; doubtful), BWV Anh. 120: Anna Magdalena Bach Notebook No 14
1980
1:24
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Minuet for keyboard No. 15 in C minor (AMN II/15; doubtful), BWV Anh. 121: Anna Magdalena Bach Notebook No 15
1980
1:23
Performed by:
Igor Kipnis, More Performance Details...
Carl Philipp Emanuel Bach

Marches (2) and Polonoises (2) for keyboard (Clavierbüchlein für Anna Magdalena Bach II/16-19), H. 1: Anna Magdalena Bach Notebook No 16
1980
1:09
Performed by:
Igor Kipnis, More Performance Details...
Carl Philipp Emanuel Bach

Marches (2) and Polonoises (2) for keyboard (Clavierbüchlein für Anna Magdalena Bach II/16-19), H. 1: Anna Magdalena Bach Notebook No 17
1980
1:08
Performed by:
Igor Kipnis, More Performance Details...
Carl Philipp Emanuel Bach

Marches (2) and Polonoises (2) for keyboard (Clavierbüchlein für Anna Magdalena Bach II/16-19), H. 1: Anna Magdalena Bach Notebook No 18
1980
1:29
Performed by:
Igor Kipnis, More Performance Details...
Carl Philipp Emanuel Bach

Marches (2) and Polonoises (2) for keyboard (Clavierbüchlein für Anna Magdalena Bach II/16-19), H. 1: Anna Magdalena Bach Notebook No 19
1980
5:20
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

So oft ich meine Tobackspfeife (II), aria for voice & continuo (AMN II/20b), BWV 515b
1980
5:44
Performed by:
Igor Kipnis, Benjamin Luxon, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Minuet fait par Mons. Böhm, for keyboard No. 1 in G major (WFN 11, AMN I/11), BWV 841 (BC L176/1)
1980
1:15
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Musette for keyboard in D major (AMN II/22; doubtful), BWV Anh. 126: Anna Magdalena Bach Notebook No 22
1980
0:57
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

March for keyboard in E flat major (Anna Magdalena Clavier-Büchlein No. 2/23; doubtful), BWV Anh. 127: Anna Magdalena Bach Notebook No 23
1980
1:39
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Polonaise for keyboard in D minor (AMN II/24, doubtful), BWV Anh. 128: Anna Magdalena Bach Notebook No 24
1980
1:05
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Bist du bei mir, aria arranged for voice & continuo (after Gottfried Stölzel), BWV 508
1980
3:01
Performed by:
Igor Kipnis, Judith Blegen, More Performance Details...
Johann Sebastian Bach

Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Aria (Anna Magdalena Bach Notebook No 26)
1980
4:28
Performed by:
Igor Kipnis, More Performance Details...
Carl Philipp Emanuel Bach

Sonata for keyboard in E flat major (alias BWV Anh. 129), H. 16, Wq. 65/7: Solo per il Cembalo (Anna Magdalena Bach Notebook No 28)
1980
5:16
Performed by:
Igor Kipnis, More Performance Details...
Johann Adolf Hasse

Polonaise, for keyboard in G major (Anna Magdalena Bach Notebook II/28), BWV Anh. 130: Anna Magdalena Bach Notebook No 28
1980
1:45
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Minuet for keyboard No. 36 in D minor (AMN II/36; doubtful), BWV Anh. 132: Anna Magdalena Bach Notebook No 36
1980
0:49
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Prelude and Fugue, for keyboard No. 1 in C major (WTC I/1), BWV 846 (BC L80): Praeludium (Anna Magdalena Bach Notebook No 29 )
1980
2:02
Performed by:
Igor Kipnis, More Performance Details...
Johann Christian Bach

March for harpsichord in F major, CW A22 (BWV Anh. II 131): Anna Magdalena Notebook No 32
1980
0:38
Performed by:
Igor Kipnis, More Performance Details...
Johann Sebastian Bach

Warum betrübst du dich, aria for voice & continuo (AMN II/33), BWV 516 (BC F215): Anna Magdalena Bach Notebook No33
1980
1:25
Performed by:
Igor Kipnis, Benjamin Luxon, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Cantata No. 82, "Ich habe genug," BWV 82 (BC A169): Recitative "Ich habe genug" (Anna Magdalena Bach Notebook No 34 )
1980

Performed by:
Igor Kipnis, Judith Blegen, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Cantata No. 82, Ich habe genug, BWV 82 (BC A169): Aria Schlummert ein, ihr matten Augen (Anna Magdalena Bach Notebook No 34 )
1980

Performed by:
Igor Kipnis, Judith Blegen, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Schaffs mit mir, Gott, nach deinem Willen, chorale setting for 4 voices, BWV 514 (BC F216): Anna Magdalena Bach Notebook No 35
1980
0:48
Performed by:
Igor Kipnis, Judith Blegen, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Willst du dein Herz mir schenken (Aria di Giovannini), aria for voice & continuo (AMN II/37), BWV 518: Anna Magdalena Bach Notebook No 37
1980
2:30
Performed by:
Igor Kipnis, Judith Blegen, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Dir, dir, Jehova, will ich singen, chorale setting for 4 voices, BWV 299 (BC F47): Anna Magdalena Bach Notebook No 39b
1980
6:06
Performed by:
Igor Kipnis, Benjamin Luxon, Judith Blegen, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Wie wohl ist mir, O Freund der Seelen, aria for voice & continuo (AMN II/40; doubtful), BWV 517: Anna Magdalena Bach Notebook No 40
1980
1:16
Performed by:
Igor Kipnis, Benjamin Luxon, Catharina Meints, More Performance Details...
Johann Sebastian Bach

Gedenke doch, mein Geist, aria for voice & continuo (doubtful), BWV 509: Anna Magdalena Bach Notebook No 41
1980
1:00
Performed by:
Igor Kipnis, Judith Blegen, Catharina Meints, More Performance Details...
Johann Sebastian Bach

O Ewigkeit, du Donnerwort, sacred aria for voice & continuo (AMN II/42), BWV 513 (BC F216): Anna Magdalena Bach Notebook No42
1980
1:19
Performed by:
Igor Kipnis, Benjamin Luxon, Catharina Meints, More Performance Details...

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URI CAINE

Live at the Village Vanguard

Pianist, composer, and bandleader Uri Caine takes time out from his myriad projects to record a straight jazz trio date at the illustrious Village Vanguard. For all of his wonderful quirks and musical personalities, Caine is foremost a fine jazz pianist and stylist. Along with bassist Drew Gress and drummer Ben Perowsky, that persona is on display here and it shines in a program of originals, a jazz classic, and standards. Caine's reading of Wayne Shorter's now canonical "Nefertiti" is elegant and stylish; it's full of twists and turns from the modal base and snakes its way through jazz and popular music history in the solo. The ensemble interplay here is almost symbiotic; each chromatic shift is anticipated by the rhythm section and glides into place. On Caine's "Most Wanted," the piece begins with a bluesy Ramsey Lewis Trio groove shimmer before elliptically mutating into a Bill Evans-styled harmonic exploration of the changes and modulations in the tune's melodic intervals -- complete with Latin-tinged rhythmic invention by Perowsky. The bopped-out, exceptionally long read of Irving Berlin's "Cheek to Cheek" amounts to a strident blowing session with Caine offering double-handed counterpoint at sometimes dizzying speeds. In all, this is a very satisfying date, offering a complex and erudite portrait of the pianist as a monster improviser and an exceptionally sophisticated arranger.

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Blue Wail

Uri Caine is known for his work with Dave Douglas and also for his renegade reinterpretations of Bach, Wagner, and Mahler as well as the Tin Pan Alley songwriters. But here the f

iery pianist lets loose in a trio setting, with the deadliest of rhythm sections: bassist James Genus and drummer Ralph Peterson, Jr. Whether playing fast ("Loose Trade," "Digature of the Line," "Stain," "Fireball," "Bones Don't Cry"), medium ("Sweet Potato"), or slow ("Blue Wail"), Ca

ine and company imbue every tune with an

extraordinary blues feeling and a fat swing groove. But this is not just another straight-ahead piano trio outing. Caine gives the form a shot in the arm with these sophisticated compositions, all of which contain a bevy of surprises. Blue Wail is on the whole an aggressive, burning album, although Caine mellows a bit with "The Face of Space," an ingenious hall of metric mirrors, and "Poem for Shulamit," a rubato piece that evokes a magnificent stillness. Fats Waller's "Honeysuckle Rose," the one non-original of the set, appears as both the first and the last track, with Caine taking the tune apart in a solo setting. It's an inspired move: Why not frame a batch of modernist creations with a statement drawn from jazz piano's earliest days?

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Sphere Music

Uri Caine's debut, 1992's Sphere Music, introduces his kaleidoscopic take on jaz

z, coloring it with classical and Yiddish influences. Along with clarinetist Don Byron, Caine

rejuvenatesThelonious Monk's "'Round Midnight" with an ambitious, fluid grace, while the brash "Jelly" hints at his avant-jazz leanings. An eclectic tour through different musical moods and styles, Sphere Music is an engaging, promising first work.

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THE WIND

Franco Ambrosetti with Uri Caine (piano), Drew Grass (bass), Clarence Penn (drums).

CONTEMPORARY LYRICISM! An Italian Kenny Wheeler!!!, April 11, 2008

By	Robert Lewis "Nojoe King" (Oz)

OK.. maybe not, but I've listened to both, and this is the closest comparison I can make. This CD is on the money! If you like Kenny Wheeler (As Never Before), or Art Farmer, Jeremy Pelt, then you'll love this one. Some tunes are fairly straight ahead jazz, some more upbeat, hard bop-ish, but all sublime, partly because of Franco's lyrical trumpet solos, and partly due to Uri Caine's wonderful piano, and the support of rhythm section. A wonderful synergy, the whole trio and Franco! Highly recommended. ******

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Nouvelle Vague (1, 2, & 3)

Nouvelle Vague

The best compliment that can be paid to Nouvelle Vague's self-titled debut album: it isn't as arch and smirking as a collection of bossa nova versions of new wave classics by fetching French and Brazilian chanteuses would suggest. Based on the concept alone, Nouvelle Vague seems similar to the work of jokesters like the Mike Flowers Pops or Richard Cheese and Lounge Against the Machine, but though the album is definitely playful, it works on a sincere level enough of the time to be more than just a goof. In fact, Nouvelle Vague's best moments are a tribute to how well written the words and melodies of these songs are; that they can withstand, and even thrive in, such different arrangements is no small feat. Smooth, smoky ballads, such as the opening track, "Love Will Tear Us Apart," provide many of the album's highlights. The Cure's "A Forest" gets a tropical twist, complete with jungle sound effects, while the Sisters of Mercy's "Marian" remains as dark as ever but is now much more delicate -- call it gotha nova. On the other hand, the cover of the Dead Kennedys' "Too Drunk to Fuck" is a giggly, sassy, mischievous standout that bears virtually no resemblance to the original. Likewise, the serpentine version of Killing Joke's "Psyche" is radically different from the original, nor does it quite fit in with the rest of Nouvelle Vague's bright, breezy feeling, but its spooky vibe makes it one of the album's most interesting tracks. Two of the best covers come from a couple of the least well-known bands on the collection: Tuxedomoon's "In a Manner of Speaking" is transformed into a gorgeous, completely convincing torch song, and Josef K's "Sorry for Laughing" closes the album on a sweetly languid note. Not all of Nouvelle Vague is this inspired -- the version of Depeche Mode's "Just Can't Get Enough" is overly fussy, and while the covers of songs like "I Melt With You" and "Making Plans for Nigel" are nice enough, they don't have the spark of the album's best moments. But even at its worst, Nouvelle Vague is still pleasantly witty background music. This unlikely, but mostly happy, marriage of new wave and bossa nova will probably disappoint or displease purists who believe that every version of "Love Will Tear Us Apart" should have the brooding intensity of the original, but everyone else can enjoy the album's playful elegance.
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Bande à Part

It was something of a small miracle that the first Nouvelle Vague album managed to avoid the seemingly inherent kitsch of covering new wave classics as slinky bossa nova. Unfortunately, the group doesn't quite pull it off the second time around. Bande a Part has several songs that meet the standard set by Nouvelle Vague: "The Killing Moon," "Dance with Me," and "O Pamela" translate well into bossa nova ballads and manage to keep the songs' and the singers' dignity intact, while the Cramps' "Human Fly" sounds nearly as mischievous — and a lot more elegant — in Nouvelle Vague's hands. There are also a few downright silly moments. The version of "Pride (In the Name of Love)" feels like it's trying to be as serious as the original yet flip at the same time, and ends up failing on both counts, while "Dancing with Myself" sounds more like a reinvention of Lou Bega's "Mambo No. 5" than of Billy Idol's hit. Mostly, however, Bande a Part just sounds like an uninspired rehash of Nouvelle Vague. The covers of "Ever Fallen in Love," "Heart of Glass," and "Shack Up" aren't embarrassing, but they aren't especially interesting, either. Considering Nouvelle Vague's popularity, it's understandable why the people behind the project would want to try to repeat their success, but it's too bad that it wasn't left as a singular, pleasant surprise.

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NV3

If imitation is the sincerest form of flattery, then Nouvelle Vague must be new wave and bossa nova's biggest admirers — and it hasn't gone unnoticed. On NV3, the group performs some of its suave covers of new wave and post-punk classics with some of the era's stars, and the results embody the best and the worst of the rest of the album. Ian McCulloch fits seamlessly into "All My Colors," a typically pretty, wistful Nouvelle Vague track, while Barry Adamson's sneering cool makes a noir version of Magazine's "Parade" the album's standout. However, the group's version of "Master and Servant" — which features a Jew's harp and Martin Gore's booming baritone on the chorus — feels overdone, and not even Terry Hall's cameo can save "Our Lips Are Sealed"'s transformation into a pastoral reverie from seeming a bit silly. Elsewhere, Nouvelle Vague struggle to balance their fondness for kitsch with deeper emotions, and inspired touches with their usual formula. "Blister in the Sun" is wittily transformed into a ye-ye rave-up and "Road to Nowhere" is turned into an alt-country ramble, but making "God Save the Queen" and "Ça Plane Pour Moi" singsongy and delicate isn't especially clever at this point. Despite the occasional misstep, NV3 still has some gorgeous moments, especially the flamenco-tinged "Not Knowing" and the closing track, "Such a Shame." This is a decidedly mixed bag, but there are enough lovely and playful tracks to keep most Nouvelle Vague fans satisfied. If imitation is the sincerest form of flattery, then Nouvelle Vague must be new wave and bossa nova's biggest admirers — and it hasn't gone unnoticed. On NV3, the group performs some of its suave covers of new wave and post-punk classics with some of the era's stars, and the results embody the best and the worst of the rest of the album. Ian McCulloch fits seamlessly into "All My Colors," a typically pretty, wistful Nouvelle Vague track, while Barry Adamson's sneering cool makes a noir version of Magazine's "Parade" the album's standout. However, the group's version of "Master and Servant" — which features a Jew's harp and Martin Gore's booming baritone on the chorus — feels overdone, and not even Terry Hall's cameo can save "Our Lips Are Sealed"'s transformation into a pastoral reverie from seeming a bit silly. Elsewhere, Nouvelle Vague struggle to balance their fondness for kitsch with deeper emotions, and inspired touches with their usual formula. "Blister in the Sun" is wittily transformed into a ye-ye rave-up and "Road to Nowhere" is turned into an alt-country ramble, but making "God Save the Queen" and "Ça Plane Pour Moi" singsongy and delicate isn't especially clever at this point. Despite the occasional misstep, NV3 still has some gorgeous moments, especially the flamenco-tinged "Not Knowing" and the closing track, "Such a Shame." This is a decidedly mixed bag, but there are enough lovely and playful tracks to keep most Nouvelle Vague fans satisfied.

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