Accademia Bizantina are firmly established among the best period performance ensembles of our time, with their director, Ottavio Dantone, in demand in the opera house and concert hall alike. He directs Accademia Bizantina in a special collection of instrumental music from Bach's Cantatas.
For their latest recording, they explore the wealth of fine instrumental music in Bach's glorious Cantatas with a personal selection by Dantone.
A thoroughly enjoyable collection of Sinfonias, Sonatas and Concerti from Bach’s Cantatas – all given the unique flavor of Accademia Bizantina’s characterful period style.
"This is a wonderful recital, carefully chosen and assembled, and beautifully played… thereRead more are movements highlighting the group’s fine oboists, bassoonists, violinists, trumpeters and, slightly less impressively, horn players. Their style is brisk and energised in the faster music and deeply expressive and spacious in the slower.” – The Sunday Times (London)
“Although it might seem a strange idea to make a CD of the orchestral introductions to Bach’s cantatas, there is sufficient variety of mood – from celebratory to contemplative – to make the programme work as a sequence...the where-have-I-heard-that-before element is part of the disc’s attraction, and the superb Accademia Bizantina makes the music live and breathe.” – The Daily Telegraph (UK) Read less
Simply awfulAugust 20, 2014By Stephen Whitney (Kensington, CA)See All My Reviews"These performances are an aberrant version of the historically informed, period instrument style. String tone is ugly, fast tempos are too fast, phrasing is clipped, held notes are played with a sickly swell, sudden attacks are thrown in, and more. These performances are not musically informed! The players and conductor seem unable to hear the music itself, to play it the way the music itself wants to be played. We don't really know how Bach would have played this music, but he left music that itself gives the clues to successful performance, given only that the musicians can sense it. These performances remind me of Eurotrash productions of operas: they use the notes in the score as pretext for self-indulgent performances that are all about the whims of the performers or director, and ignore anything the composer might have intended to convey. Some historically informed performers produce very musical results, but not these people."Report Abuse