Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, CMS has created multi-faceted education and audience development programs to bring chamber music to people from a wide range of backgrounds, ages, and levels of musical knowledge. Many of these extraordinary performances are live-streamed on the CMS website, broadcast on radio and television, or made available on CD and DVD, reaching thousands of listeners around the globe each season.Įducation remains at the heart of CMS’s mission. Whether at its home in Alice Tully Hall at Lincoln Center in New York, on leading stages throughout North America, or at prestigious venues in Europe and Asia, CMS brings together the very best international artists from an ever-expanding roster of more than 120 artists per season, to provide audiences with the kind of exhilarating concert experiences that have led to critics calling CMS “an exploding star in the musical firmament” ( Wall Street Journal). The Chamber Music Society of Lincoln Center (CMS) is known for the extraordinary quality of its performances, its inspired programming, and for setting the benchmark for chamber music worldwide: no other chamber music organization does more to promote, to educate, and to foster a love of and appreciation for the art form. Bach | Complete Brandenburg Concertos, BWV 1046-1051 (1720) CMS is proud to once again present the complete Brandenburg Concertos in Bach’s original instrumentation in what has become a Chicago holiday tradition. With their stunning variety of novel instrumentations, their unforgettable tunes, and their irresistible energy, the Brandenburgs easily serve as a definition of what good music should be. If Johann Sebastian Bach had only left the world his six Brandenburg Concertos, he would still reside in the pantheon of the great composers. 3 (also known as the "Air on the G string") impresses with its contrasting introspection, and the Academy plays it with exceptional tenderness.Looking to renew your Chamber Music Series subscription? Call the Box Office at 31 (Monday – Friday, 12 p.m. 4 in D major, and the ensemble makes these works sound festive and jubilant. Naturally, the brass dominate the Suite No. 2 in B minor, which is given a rather robust character and played with as much panache as the more extroverted suites that follow. Most listeners will appreciate these credible and energetic performances, particularly of the Orchestral Suite No. 1-4 are admirable for their meticulous musicianship, close approximation of period practice, and fine digital sound for the time. Marriner's recordings of Bach's Orchestral Suites Nos. 5 is vigorous and clearly audible against the orchestra. Especially noteworthy, George Malcolm's harpsichord solo in the Brandenburg Concerto No. The Brandenburg Concertos are robust and exciting, and the soloists are all first-rate. While these performances lack the charming timbres of period instruments and are possibly too full-sounding for connoisseurs of a leaner Baroque sound, the fair-minded listener will not find them deficient at all in spirit or color. The playing is, as always, impeccably clean, deeply musical, and reasonably authentic in execution, even though the Academy uses modern instruments, a rub for purists. Marriner's performances may not be as exacting and scrupulous about Baroque performance practice as those of Gustav Leonhardt or Trevor Pinnock, but they are informed by serious scholarship and have sufficient appeal to make the finer points debatable. These recordings were made in 19, and still offer fine sound for early digital recording and exceptional musical value. Bach's Brandenburg Concertos and the Orchestral Suites, newcomers searching for respectable recordings at a reasonable price would do well to start with this triple-CD set by Neville Marriner and the Academy of St. While most serious listeners already have their favorite sets of J.S.
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