Composer: Johann Sebastian Bach
Works: Complete Works on 160 CDs
Performers: Various artists including the Holland Boys Choir, Netherlands Bach Collegium, The Sixteen, Brandenburg Consort, and others
Recording: Various dates, primarily 1999-2000
Label: Brilliant Classics
The monumental legacy of Johann Sebastian Bach, whose music transcends the bounds of time and style, finds a daring encapsulation in the Brilliant Classics’ Complete Works collection. Released in the year marking the 250th anniversary of Bach’s passing, this ambitious undertaking presents the entirety of his oeuvre across 160 CDs, a feat that is as much a logistical marvel as it is a musical one. This set, though not without its imperfections, emerges as a significant contribution to the contemporary landscape of Bach recordings, especially as it claims to provide a comprehensive approach to the composer’s vast output, including nearly 200 sacred cantatas.
Delving into the performances, one must acknowledge the sheer scale and effort involved in recording such a wealth of material. Notably, approximately 65% of the recordings are newly produced, a remarkable commitment to presenting Bach’s music in a manner that strives for historical authenticity—albeit with some variances. The choice of ensemble and soloists is commendable, particularly the consistent use of the Holland Boys Choir and Netherlands Bach Collegium under the baton of Pieter Jan Leusink. Their interpretations, while occasionally lacking in the finesse that comes from more seasoned ensembles, radiate an earnestness that is often captivating. For instance, in the Actus Tragicus (BWV 106), the haunting sonatina is rendered with a delicacy that captures the essence of Bach’s contemplative spirit, although one notes some imbalances in the ensemble that could benefit from more refined rehearsal.
The recording quality itself merits attention, particularly given the budget nature of this set. Many of the performances, notably those of the sacred cantatas, were recorded under tight schedules—sometimes only sections of works were captured at a time—which results in a mixture of coherence and disjunction. This is exemplified in the cantatas where the individual movements may lack the seamless transitions one expects from a fully realized performance, yet they still reveal the inherent beauty of Bach’s writing. The sound engineering is satisfactory but does occasionally exhibit a slight hollowness, a trait that may detract from the inner details of the orchestration. Nevertheless, the overall clarity is adequate, allowing the listener to appreciate the intricate counterpoint and textural complexities that characterize Bach’s compositions.
In a landscape crowded with rival interpretations—most notably those by Rilling and the duo of Leonhardt and Harnoncourt—Brilliant Classics’ collection distinguishes itself through its accessibility and breadth. The choice to present the cantatas in their entirety, albeit imperfectly realized, offers listeners a unique opportunity to engage with this often-overlooked repertoire. While some performances may not reach the heights of interpretative insight found in more established recordings, they nevertheless provide a refreshing perspective. For instance, the Brandenburg Concertos performed by the Consort of London demonstrate vigorous tempos and lively interactions among the instruments, a stark contrast to the more staid interpretations that can sometimes plague these works.
Bach’s chamber and solo instrumental works, however, present a mixed bag within this set. The cello suites, particularly Robert Cohen’s interpretations, stand out for their lyrical depth and personal touch, despite an occasional indulgence in tempo variations that may perplex purists. Conversely, the solo violin works are less successful, with Mark Lubotsky’s performances suffering from an overreliance on vibrato, which obscures the inherent clarity and structural elegance of the pieces.
The inclusion of organ works, particularly those played by Hans Fagius, further solidifies the set’s appeal. Fagius’s nuanced interpretations provide a compelling lens through which to appreciate Bach’s mastery of the instrument, although the omission of the Art of Fugue in its organ form is a notable loss.
This collection, with its vast array of performances and varied interpretations, offers both a treasure trove for the devoted Bach enthusiast and a commendable entry point for the uninitiated. While the Brilliant Classics Complete Works may not supplant the definitive recordings in the catalogue, its ambitious scope and the inherent charm of many of its interpretations render it an essential acquisition for anyone seeking to immerse themselves in the profound depths of Bach’s music. The balance of accessibility, breadth, and quality, particularly at the budget price point, ensures that this set will find a deserving place on the shelves of both casual listeners and serious scholars alike.
