Bach 333 - The New Complete Edition

Who is going to buy this expensive box, I asked myself. Well, obviously me, as inveterate Bach-nerd. But, although there certainly are some interesting things in the box, I almost regret having bought it.The box in itself is a very handsome and stable indeed. Nice to look at. Very heavy and very large (43 x 28 x 20 cm). The pyramidal form of the the disc compartment takes up some unnecessary space, though.There are two hardbound books. The first contains different articles about Bach’s life, and the other deals with his works. They are presented in the form of detailed liner notes that refer to individual recordings. Then there is a third book, or rather leaflet, which contains the BWV list. It does not seem to be complete, but should be looked at as an index to the box.Then there the 222 CD:s. They can essentially be divided into: (i) state-of-art-recordings, (ii) alternate recordings, (iii) historical recordings, and (iv) arrangements by other composers.The recordings originate for the most part from the archives of Universal (i.e. Deutsche Grammophon, Decca, Philips), but many other companies have contributed, e.g.. BIS and SDG. It is stated that 32 labels are represented, but to a very different degree. Very few recordings from Sony/BMG and Warner are present.The sacred cantatas are dominated by Gardiner (around 100) in the “state-of-art” category, and Richer in the historical category (38 recordings). I’m not too happy with that. I find both a bit too dry and neutral for my taste. It feels much better to have Suzuki represented with 52 cantatas. His approach is more warm and emotional. Among the state-of-art recordings you’ll also find Ton Koopman, Josua Rifkin, Philippe Herreweghe and Nikolaus Harnoncourt represented with a few recordings. There are too many historical recordings by Richter at the expense of other conductors, such as Gönnenwein, Leppard, Marriner, Münchinger, Rilling, Ristenpart, Willcocks, and Winschermann. Yes, some of them are present as “Vocal traditions” (see below), but to a much lesser degree than Richter.The finest secular cantata cycle is undoubtly the recent Suzuki’s, of which only two cantatas are available here (BWV 134a and 203). Most are conducted by Leonhardt or Goebel. Some of them have a very high tempo, notably the first chorus in BWV 201 (Phoebus und Pan), which is extreme in that respect. There are two recordings of the Coffee canatata. Neither is as good as my reference recording (Ameling, Nimsgern, Collegium aureum, 1968).Then there are the large choral works. Lars Ulrik Mortensen’s B minor mass is a very good choice. It is extremely well conducted and sung. The alternate choice by Frans Brüggen is difficult to understand. An anemic recording that lacks drive. Gardiner is back in St. John and in St. Matthew (you already have heard my opinion of him), but in St. John we have an excellent alternative in Suzuki. In St. Matthew, the alternative for Gardiner is McCreesh with his one-voice-per-part concept. This is worth hearing. And then you have Richter of course, as the historical choice, when it should have been Münchinger with his magnificent recording from 1965. In the Christmas Oratorio you will not be surprised to meet Gardiner again, while the alternative is (surprise!) Riccardo Chailly with his unidiomatic interpretation from 2010. When there are over 200 recordings of the Christmas Oratorio, why choose Chailly?There are certainly some interesting historical recordings, listed as “Vocal traditions”. I have of course not listened to all. Among them is a small part of Willem Mengelberg’s St. Matthew from 1939. Although this recording was not complete (the first German recording was Fritz Lehmann’s from 1949, I believe), it is still interesting to have. One real gem is Elly Ameling’s recording of “Mein Herze schwimmt in Blut” (BWV 199) wit Helmut Winschermann as conductor. Karl Münchinger is present with the Easter Oratorio and the cantata “Wachet auf” (BWV 140). Unsurpassed recordings. Just to mention a few examples. Further historical recordings can be heaurd on CD:s 103-105, where individual arias are performed by artists as Kathleen Ferrier, Fritz Wunderlich, Maria Stader, Marga Höffgen and Cecilia Bartoli.All the keyboard works are performed on harpsichord, and the major ones also on piano. I prefer the piano versions. They are perfomed by pianists such as Argerich, Hewitt, Perahia, Pollini, and Schiff. I know many of these recordings previously, and they are generally very recommendable.The organ works are performed on historical organs in Europe, and played by Chorzempa, Hurford, Koopman, Preston, Rübsam and Walcha, mainly. There is only one sample each from Marie-Claire Alain and Bernard Foccroulle. No recordings by Christopher Herrick or Hans Fagius.There two “state-of-the-art” sets of the Brandenburg concertos. It is understandable why they have chosen the Pinnock set. Even if it was recorded in 1982, it is easy to live with, and a real classic. The alternate recording – Goebel – is harder to understand. It is an overstrained interpretation with furious tempi. All six Brandenburgs on one CD! The best interpretation of these concertos come from Il Giardino Armonico.The keyboard concertos are available both as harpsichord concertos and as piano concertos. That is, all except the concerts for 2 and 3 keyboards, which are availble only as harpsichord concertos. This is a great shortcoming, and somewhat strange, as Andras Schiff has recorded these concertos with Camerata Bern in 1993 on Decca.The”state-of-art”-recordings of the a minor and E major violin concertos come from Giuliano Carmignola and Concerto Köln. These performances I will not return to often. Far too overexcited to my taste. Fortunately, there are alternatives, for example Anne-Sophie Mutter and the Trondheim Soloists in the a minor, and Hillary Hahn with Los Angeles Chamber Orchestra in the E major. Regarding the double concerto, the state-of-art-version is the very agreeable Trevor Pinnock recording featuring Simon Standage and Elizabeth Wilcock. But there is more. An entire CD, with 5 different versions, is devoted to this concerto.Finally, there are 16 CDs which are filed under the categories “Bach Interactive” and “Bach after Bach”. This is really an interesting collection of music. The first eight contain music by composers that have influenced Bach, such as Buxtehude, Telemann, Vivaldi and other members of the Bach family. The other eight contain arrangements of others of Bach’s music, including new works that are inspired by Bach. Here we find music composed of Bach’s sons, Beethoven and Mendelssohn on the first disc, and compositions by Elena Kats-Chernin, Vikingur Ólafsson, Peter Gregson and Pepe Romero on the very last CD.The reason for buying this box may in fact be these 16 CDs, together with the 50 CDs of alternative and historical recordings, and the two books. Devotees of Bach will already have their favorite recordings of most of these works, and many will not agree on which recordings that are chosen as “state-of-art”-recordings here. I would be reluctant to recommend this box to beginners. There are some odd choices of certain works.

Some while ago someone posed a question: 'If you could either live in a world with all of Bach's music but nothing else or a world with everyone's music except Bach's, which would you choose?' It's a tough one but I'd be seriously tempted to choose the 'only Bach' option.If I did, this would be the vindication of my decision. It's beautifully presented, wonderfully curated, and the 222 CDs represent a range of interpretation in a plethora of wonderful recordings. For instance, the St Matthew Passion - surely one of the pinnacles of human achievement - is represented by Karl Richter's lush 1958 recording (thought by many to be better than his 1981 version, of which I am very fond), as well as John Eliot Gardiner's period instrument recording with the Monteverdi Choir & English Baroque Soloists and Paul McCreesh with a 'one to a part' version which sometimes feels a bit rushed and undramatic to me (surprising for McCreesh) and sometimes amazingly full and vital despite the small forces. And, if that wasn't enough, some excerpts from earlier recordings by Fritz Lehmann, Hermann Scherchen and Willem Mengelberg. We don't really know how Bach performed it and we certainly don't know how he would have liked to have performed it but in this box set is a wide range of possibilities.Not every work gets such comprehensive treatment, of course, but there is plenty of variety here. For instance, most of the keyboard work is available on both piano (with artists such as Schiff, Agerich, Hewitt and Perahia) and harpsichord (with Rousset, Gilbert and Hogwood) with even a bit of classic recordings from Myra Hess, George Malcolm and others. There is so much breadth of choice (I believe that DGG licensed works from about fifteen different labels) that this is undoubtedly a treasure trove which will not be exhausted any time soon.The books are very helpful and I look froward to reading the history; the 'music' book by Nicholas Kenyon is very much geared to the pieces and performances presented in this set. Works are, in general, arranged in BWV categories but within them are set in chronological order, giving a great opportunity to become familiar with the development of Bach's craft and genius.It will take me months, perhaps years, to get the measure of this vast collection but already I am satisfied that it was well worth the money.UpdateI have now had the chance to listen to most, if not all of the CDs in this set and I am still delighted. The breadth of exposition, the quality of presentation and the sheer delight in this great music will never pall.The biography and articles are good and point the way to further exploration if desired. And, in a rather nerdsih way, perhaps, I really like having the BWV catalogue, organised as it is by number, date of work and title of work - making cross-referencing easy. There is also a performer index included.If you like Bach and would like to know his music better, then buy it. I don't think you will regret it.