{"id":64,"date":"2011-07-29T12:49:31","date_gmt":"2011-07-29T16:49:31","guid":{"rendered":"http:\/\/www.155dayswithbachandme.com\/?p=64"},"modified":"2011-07-30T21:24:25","modified_gmt":"2011-07-31T01:24:25","slug":"day-two-brandenburg-concertos-4-6-cd-1-2","status":"publish","type":"post","link":"https:\/\/www.155dayswithbachandme.com\/?p=64","title":{"rendered":"Day Two: Brandenburg Concertos 4-6 (CD 1-2)"},"content":{"rendered":"

\"Bach<\/a>What sounded harsh to my ears with CD 1 (Brandenburg Concertos 1-3) because of the period instruments now sounds exactly right. Perhaps I’ve gotten used to their tone. Or maybe I’m hearing these concertos as if for the first time because I’m used to listening to Sir Neville Marriner’s Academy of St. Martin in the Fields recordings of Brandenburg Concertos 1-3. Marriner’s version is warmer, richer, and more what I’m used to Classical music sounding like.<\/p>\n

But I rarely venture into Concertos 4-6. So now, when I hear the Brilliant Classics performances, they sound fresh and fun, sort of like what I’d hear at a Renaissance Fare. I feel like roasting an ox, putting on my knee-high leather boots and puffy white shirt, grabbing a tankard of ale and a serving wench and going about my business.<\/p>\n

That’s Baroque music for you. It brings out the swashbuckler in me.<\/p>\n

Another difference between today’s CD and yesterday’s: the lack of French horns. Because my wife plays French horn, and because I’m a sucker for the tone and style of a French horn, I immediately noticed the first CD featured a different French horn tone entirely from what I’ve come to love and respect.<\/p>\n

CD 2 has a Red Priest<\/a> sound to it — lots of recorders, violins, and harpsichords. Sprightly played.<\/p>\n

You’re not familiar with Red Priest? Shame on you. Here’s a video clip to enlighten you:<\/p>\n