Customer Reviews

Switched-On Brandenburgs

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3 star:		(1)
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Concerto #3 was incredible on the original Switched-On Bach album, and remains one of the best performances in this collection. Concerto #4 is from the Well-Tempered Synth. #5 from Switched-On Bach II. I tried hard to pick up the "glitch" mentioned by the other reviewer, but there is nothing strange to my ear. The tonalities are unusual, but nothing too far out. I got all of the above as part of the Switched-On Boxed Set so perhaps the engineering is different? If you like the Brandenburgs it is likely you will find one or two new favorite movements here!

I grew up listening to Wendy. When I was just a boy, I would sit with my father, a Baroque music lover, as he played the Brandenburg Concerti, and to this day they remain my favorite of the genre.

The transformation of this old music into the sounds of the modern day is truly fascinating, and one is struck by the flexibility of the concerti, that they still cohere.

After a few minutes of listening, I grew frustrated by how quickly the sound ascribed to a given voice part changes. As written, the instruments of the ensemble acquire a kind of personality as a movement develops, and much of this higher order structure is lost when the timbre is changed so radically and so frequently.

Also, some of the sounds Wendy uses sound too dated to my ears - they make me smile and think of the 80s, but one often gets a whiff of Bladerunner, and in Bach this can be a little jarring.

Overall, though, I am pleased with what I've gotten, except for a VERY PECULIAR glitch in the second movement of concerto #5 in D Major - the part normally given to a flute is way out of tune - one hears the overtone above the upper voice (a fifth above) - and the result is a long string of parallell fifth movement between the two upper voices which not only grates internally, but also with the other voices. I can't understand this choice - was she trying to harken back to the days before equal temperament?

I think this mars the work as a whole, and I so wish there wasn't such a careless blemish on an otherwise remarkable work. Bach would never have condoned such poor voice-leading.

This is still Modern sounding to me. Purists won't let the traditional instrument versions die so don't worry. Purists will always be purists and nothing new has ever happened. Let me say though, that it cured my migraines and reduced the stress of being a contemporary citizen. I always recommend it. Enjoy.

Decades ago, I discovered the music of (then) Walter Carlos. At that time, the Moog Synthesizer was the height of technology. I even attended a lecture by Robert Moog at the University of Colorado in the late sixties. His instrument had three large panels and scores of wires with phone plugs on their ends. And the music created by Dr. Carlos was exciting and fresh.

Bach lends itself to tremendous interperetations on almost any instrument. Indeed, Bach seems to bring out the most eclectic group of instruments for transcription; it hardly matters what was the original instrument for which a piece was written. So why not a digital instrument?

Dr. Carlos has continued her fine work with this album. It is even more detailed than the original, from decades ago. I also appreciate the technical information provided. Anyone who loves Bach will have a hard time not liking this album. Since the Brandenburgs are some of my favorite music anyway, this version helps round out my collection of different instruments playing the same music. The technical expertise needed to produce this album is phenomenal.

I love this album. And as a side word, I have always admired the personal courage and conviction of Ms. Carlos. Thank you so much!

SWITCHED ON BRANDENBURGS was given to me as a Christmas gift by one of my sisters when it was brand-spanking new. It remains one of my all-time favorite albums, day in and day out, for the High Holy Days or any old day. The glittering colors and hitherto unachieved overall sound - pure God-given magic through Carlos' fingers. And every Concerto is my favorite, thanks to Carlos. Before her, it was a chore to listen to some of them.

The fact that Carlos would even think of tackling the complete Concerti electronically is mind-boggling; however, if you haven't heard any of this (I'm positive you have) you must hear it. Carlos was the original arguer of the idea that this was the way Bach probably 'heard' the music originally. That is to say, each note is clear, has its own voice and its place in one's hearing - unlike fuzzy concert performances.

A few corrections and agreements vis-a-vis other reviewers: Carlos did not perform this in the 1980s, so if it reminds you of the 1980s just think of the trails she blazed here. Also, while I agree that the individual voices are meant to develop, each on its own instrument, orchestrally, THIS recording gives one the complete spectra Bach intended. I agree that Carlos ought not to have broken up certain passages with weird electronic voices, but if you know/play Bach, that is not a problem.

Carlos' work continues to fight for the things Bach himself fought for: musical integrity without killing imagination; individual transcriptions instead of the dry same-old-same-old; and pure, ecstatic innovation where allowed. If Bach were alive now, he'd be MARRIED to Carlos. And writing new stuff for her.

Carlos breathes life into the wrongly described "lifeless" electronic keyboards, and the Brandenburg Concerti are in my opinion even beyond the skill and scope of THE ART OF THE FUGUE. Let Kenneth Gilbert and others keep the limelight for beautifully rendered albums of ART OF FUGUE; let Carlos be hailed always and forever as the bravest, most talented transcribers of Bach!

And by the way, Ms. Carlos, when exactly are you going to do the GOLDBERG VARIATIONS and THE ART OF THE FUGUE for us?

A clockwork perfection... the sound track to anyone who grew up in the early 70's