La Rimembranza CD - Import

'Mozart knew Bach more by hearsay than from his works; at any rate he was quite ignorant of his motets, which had never been printed. Scarcely had the choir sung a few bars when he started up; a few bars more, and he called out: 'What is that?' And now his whole soul seemed to be in his ears. When the performance was over, he called out joyfully, 'That is indeed something from which we can learn!' He was told that this school, at which Sebastian Bach had been cantor, possessed a complete collection of his motets, and treasured them as sacred relics. 'That's right! that's fine!' he said. 'Let me see them.

' As there were no scores of these works, he got them to bring him the separate parts; and now it was a joy to the silent observers to see how eagerly Mozart distributed the parts around him, in both hands, on his knees, on the nearest chairs, and, forgetting everything else, did not rise until he had carefully read through everything that was there of Bach's. He begged and obtained a copy for himself, which he valued very highly.

'The Barber starts purposely wobbly and a little out of tune, but it's definitely a favorite the way it builds and builds like no other piece I know.

The first movement of the Holberg Suite may be my finest single movement recorded so far. Overall this work is a great work to bring us through time back to the Bach.

Cantata #82 "Ich habe Genug" is one of the most sensitive and expressive works I know. To be able to play the entire piece as I have done is simply an amazing experience. I have learned from this project somthing about the depth of tonal contrast one can make with one instrument. When I had all the accompianment parts recorded and then went back to record the bass solo with the fullest bass sound I could, I had no idea I could do this. Never before has any composition inspired me to make such a sound quailty, nor has a conductor or any other music professional ever suggested this potential to me.