The Amsterdam Baroque Orchestra & Choir (= ABO&C), founded in 1979 by Ton Koopman, are a group of musicians from all over the world, with a particular passion for the Baroque. About seven times a year they get together to perform live and make CD-recordings under the inspired direction of Ton Koopman...

The Bach Cantatas Website

Although Ton Koopman's fine Bach cantata series, begun in the mid-1990s, was abandoned by Warner Classics/Erato in 2001, the conductor managed to resume the 22-volume edition's issue through his own label, Antoine Marchand (a sub-label of Challenge Classics). And while distribution in the U.S. hasn't always been steady, that question seems to be resolved and we can expect to enjoy the remaining volumes as they appear over the next few years. This Volume 2 is by no means a "new release", but since Classicstoday.com last visited the series in June, 2003, with a review of Volume 1 (type Q6613 in Search Reviews), we thought we'd pick up where we left off. As collectors of these cantatas already know, Koopman initially released 12 of the 22 volumes with Erato, so if you already own any of these, you don't need to consider the Challenge Classics versions since they are identical...

–David Vernier, ClassicsToday.com

In evaluating a Bach cantata recording, there are so many variables to consider--programming choices; quality and type of soloists; tempos and balances among soloists, orchestra, and chorus; quality of choir and orchestra; use of alternate arias (or voices for a particular aria); version of the score (where more than one exists); instrumentation (period or modern instruments; configuration of continuo); and of course, the quality of the recorded sound--that comparisons between different recordings often become more descriptions than critiques. No matter how "good" a performance is, if you don't like period instruments you won't like Herreweghe or Koopman; likewise, if a certain countertenor soloist bugs you, you'll be unlikely to enjoy a cantata in which that singer is prominently featured, no matter how wonderful the work's other movements sound. On the other hand, if you like Koopman - or Herreweghe, both of whom are the most interpretively consistent among period-instrument practitioners (Rilling fits that bill in the modern-instrument category; "periodists" Gardiner and Harnoncourt are notoriously unpredictable) - then you'll likely be pretty satisfied with most of their efforts in this repertoire...

David Vernier, ClassicsToday.com

Over a decade spanning the years 1730 to 1741, Bach assembled and published in four volumes those keyboard works he had written to date that he held to be most representative of his art. The six partitas comprised Book I of the Clavierübung (“Keyboard Practice”); the Italian Concerto and B-Minor Overture in the French Style comprised Book II. Book III, which came to be called the “German Organ Mass,” contained 21 Lutheran hymn chorale preludes and four duets, framed by a grand opening prelude and a closing five-voice triple fugue. Book IV consisted of but a single work, the Goldberg Variations. Playing on a 2008 copy of a 1774 Johann Heinrich Gräbner der Jüngere harpsichord built by Montreal maker Yves Beaupré, Alexander Weimann here gives us the two works that comprise Book II.

FANFARE: Jerry Dubins

The extraordinary Russian pianist, Valery Afanassiev, studied the piano at the Moscow Conservatory with Emil Gilels and Yakov Zak. In 1968 (or 1969) he was prize-winner at the Bach Competition in Leipzig. In 1972 he was awarded the 1st prize at the Concours Reine Elisabeth (Queen Elizabeth) in Brussels, Belgium...