B.ACH

Benedikt Entleer, Julie Moulin, Kersten McCall, María Cristina González, Mariya Senotyuk, Olga Matieva, Paul Frick, Tjeerd Top

16,9961,00

Available in Stereo & 5.1 Channel Surround Sound DSD & DXD plus 7.1.4 Channel Discrete Immersive Audio (for 10 Channel DAC Owners)

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Original Recording Format: DSD 256
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Available in Stereo & 5.1 Channel Surround Sound DSD & DXD plus 7.1.4 Channel Discrete Immersive Audio (for 10 Channel DAC Owners)

B.ACH is a new album by flutist Kersten McCall with Olga Matieva, Tjeerd Top, Benedikt Enzler, Mariya Semotyuk, Julie Moulin & Maria Cristina Gonzalez. It is available in Stereo and 5.1 Channel Surround Sound DSD (up to DSD 256), DXD and Stereo DSD 512.  The album is also available in 10 Channel Discrete Immersive DXD Surround Sound (for 10 Channel Digital to Analog Converter Owners).

McCall says “This is not Bach: I guess that everyone has a story with Bach: musicians, music lovers, classical players, improvisers, composers, rock as well as folk musicians. Most of these stories probably start with a recording that was playing at home, and very likely it was the Goldberg Variations played by Glenn Gould. Or the Cello suites played by Pablo Casals, Henryk Szeryng playing the Chaconne or Willem Mengelberg conducting the St. Matthew Passion. Maybe it was Stokowski’s arrangement of Toccata and Fugue in D minor. Some probably don’t even know that they are hearing a Bach tune when listening to Paul Simon’s American Tune or Paul McCartney’s Blackbird.

However, I did not have this early positive exposure to Bach’s music — on the contrary, I was scared of it. The first time I played Bach was at the age of 12, at the National Youth Competition in Germany. I performed the E-flat major Sonata with my father accompanying me on the piano. The jury had only two comments: ‘find a better pianist’ and ‘this is not Bach’.

So here is the result of my journey… so far. And for the first time, people might be right in saying: This is not Bach! Indeed, it is not. But it is his spirit, and that’s what matters most to me.”

Kersten McCall – Flute
Olga Matieva – Harpsichord (tracks 2-5, 7-10 & 17-19)
Tjeerd Top – Violin (tracks 17-19)
Benedikt Entleer – Cello (tracks 7-10 & 17-19)
Mariya Senotyuk – Flute (tracks 6 & 12-15)
Julie Moulin – Alto Flute (track 6 & 12-15)
María Cristina González – Alto Flute (tracks 6, 11 & 12-15)
Paul Frick – Electronics (track 16)

Tracklist

Please note that the below previews are loaded as 44.1 kHz / 16 bit.
1.
To Bach
00:28
2.
Partita in A Minor, BWV 1013 (Arr. by Kersten McCall): I. Allemande
05:03
3.
Partita in A Minor, BWV 1013 (Arr. by Kersten McCall): II. Corrente
03:54
4.
Partita in A Minor, BWV 1013 (Arr. by Kersten McCall): III. Sarabande
03:20
5.
Partita in A Minor, BWV 1013 (Arr. by Kersten McCall): IV. Bourrée anglaise
02:41
6.
Zifix!
01:54
7.
Sonata in C Major, BWV 1033 (Arr. by Kersten McCall): I. Andante - Presto
01:23
8.
Sonata in C Major, BWV 1033 (Arr. by Kersten McCall): II. Allegro
02:34
9.
Sonata in C Major, BWV 1033 (Arr. by Kersten McCall): III. Adagio
01:23
10.
Sonata in C Major, BWV 1033 (Arr. by Kersten McCall): IV. Menuetto I - Menuetto II
02:21
11.
Ach
01:25
12.
Sonata in C Major, BWV 1005 (Arr. by Kersten McCall): I. Adagio
02:36
13.
Sonata in C Major, BWV 1005 (Arr. by Kersten McCall): II. Fuga
06:51
14.
Sonata in C Major, BWV 1005 (Arr. by Kersten McCall): III. Largo
02:44
15.
Sonata in C Major, BWV 1005 (Arr. by Kersten McCall): IV. Allegro assai
05:00
16.
Et Expecto (rearrangement by Paul Frick)
01:51
17.
Sonata in A Major, BWV 1032 (Arr. by Kersten McCall): I. Vivace
06:00
18.
Sonata in A Major, BWV 1032 (Arr. by Kersten McCall): II. Largo e dolce
02:46
19.
Sonata in A Major, BWV 1032 (Arr. by Kersten McCall): III. Allegro
04:27

Total time: 00:58:41

Additional information

Label

SKU

TTK0096

Qualities

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Original Recording Format

Release DateNovember 25, 2022

Press reviews

NativeDSD Blog | HRAudio

(…) For many, the simple crux of the matter will be: How does it sound? Well, I can be pretty brief on that. These are all first-rate musicians, playing on first-rate instruments, and recorded as though they are playing for you in your listening environment. Better still, as if you are sitting in the Waalse Kerk in Amsterdam, The Netherlands (The church of the Protestant Walloons and later the French Huguenots, who had fled to Protestant Holland). No matter the pecking order in the Concertgebouw Orchestra’s flute section, I found all three playing, like the rest of their colleague musicians, exceptionally well.

To this, it ought to be added that Brendon Heinst’s engineering is at an equal artistic level, giving the players sufficient air around them, cleverly using the church’s acoustics, whilst avoiding disturbing reflections from empty-church walls. (…)

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