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George Chien
Fanfare, July 2012

Lamon brings a special vitality and sensitivity to these outstanding performances. One gets the sense that this music really is fun to play and to experience.

Tafelmusik’s Brandenburgs are definitely cloudworthy…I will listen to Lamon and Tafelmusik and sing the praises of their nearly flawless Brandenburgs. © 2012 Fanfare Read complete review

Bertil van Boer
Fanfare, July 2012

…Tafelmusik, has chosen to take charge of its own destiny and issue (or reissue) its performances on its own label. It is a bold undertaking, and from the preliminary catalog of some dozen recordings, I would say that it is a great time to reacquaint oneself with the group’s always impressive repertory under its leader, Jeanne Lamon, as well as cellist Anner Bylsma and conductor Bruno Weil.

Having plowed my way through several sets, including Trevor Pinnock and Christopher Hogwood…I am still delighted at Tafelmusik’s renditions. To be sure, they have brought in a couple of ringers, such as Crispin Steele-Perkins on trumpet for the tortuous Second Concerto or Marion Verbruggen on recorder for the Fourth. But these blend so well with the ensemble that one notices only Bach’s kaleidoscopic textures. This is pretty much as he probably wished it. Even the somewhat raucous horns of Ab Koster and Derek Conrod emerge and submerge in the First Concerto, providing both momentary transparent solos and the background hunting fanfares that sound like horns echoing in the distance. The beautiful textures of the two violas in the Sixth Concerto provide a warm and, in the final movement, nicely balanced blend. In short, for my money, this recording is easily the one I would recommend, for all of the reasons the critics liked it years ago. It is good to see it rereleased, and if you do not have a Brandenburg set in your collection, you would do well to purchase this one. © 2012 Fanfare Read complete review

David Vernier, May 2012

a refreshing addition to the burgeoning but often qualitatively challenged catalog of period-instrument Baroque music recordings. For one thing, director/violinist Jeanne Lamon assembled some of the world’s top players…to form a formidable ensemble of artists who not only could play, but who were masters of Baroque instruments and style. These Brandenburg performances are as fresh and vibrant as they were nearly 20 years ago, and they hold up well because they simply honor the music with strong individual efforts and crisp, clean, vigorous ensemble playing…whether you’re a period-performance purist or modern-instrument devotee, you’ll be very happy with this. © 2012 Read complete review

John J. Puccio
Classical Candor, April 2012

They originally released these six Brandenburg Concertos in 1995 for Sony, and it’s good to have them back in circulation.

Concerto No. 3, possibly the most popular of the set, sounds lively and spontaneous, without any sense of overdoing the tempos or stressing out the fabric of the music.

Concerto No. 4 is especially delightful, with a vivacious bounce in its step. No. 5 features superior harpsichord playing from Charlotte Nediger that raises this interpretation a notch above most of the rest. And No. 6 displays a wonderfully light hand, given the number of instruments involved, Ms. Lamon keeping the dance rhythms moving along at a healthy, vibrant, yet smoothly nuanced gait, particularly in the final movement.

The miking doesn’t usually favor any one instrument or frequency range, so the sonic presentation appears quite well balanced. More important, there is hardly any veiling of the midrange, providing a fairly clear, clean sound. What’s more, one notices a light studio resonance that supplies a pleasing ambient bloom to the activities and adds to the feeling of being at a live event. © 2012 Classical Candor Read complete review, April 2012

There are many recordings of Bach’s Brandenburg Concertos, and many are quite good, but Tafelmusik’s, recorded in 1993–94 and originally released in the latter year, is exceptional. Music Director Jeanne Lamon, playing violin in the first five concertos and viola in the sixth, picks tempos carefully, balances instruments even more carefully, and propels the music with a superb sense of its underlying dance rhythms as well as a deep-seated understanding of the conventions of ornamentation, double-dotting and instrumental balance. …the performances are so good and so thoughtful… © 2012 Read complete review

Phil Muse
Audio Video Club of Atlanta, April 2012

Tafelmusik pulls off one of the most satisfying accounts of the six Brandenburgs I’ve ever heard on record because of the traits that inform all their performances in general: absolutely clarity, particularly in the bassÍž clearly articulated melodic lines, and the way solo instruments emerge from the ensemble naturally, with just the right amount of presence.

The fast movements crackle with excitement, while the slow ones, such as the Andante for oboe and recorder in 2 and the aptly titled Affettuoso in 5, are often unexpectedly poignant, revealing the depths and the bare, yawning landscapes this composer is capable of exploring.

The eminently social nature of 18th century life comes through here…particularly in the dance-inflected lilt to the finales in concertos 1 and 6. Great sound, in 20-bit re-masterings…captures all this and much more in optimal sonic perspective. © 2012 Audio Video Club of Atlanta Read complete review

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