Martin Fröst's latest album brings a breath of fresh air to JS Bach's iconic compositions, imbuing them with his own unique silken eloquence. The Swedish clarinettist has always been an enthusiast of Baroque music, and this collection is no exception.
Recorded in the tranquility of Fröst's countryside studio, where fellow musicians would often sleep over, the album exudes an intimate feel that draws the listener in. It begins with a poignant rendition of the aria from Goldberg Variations, complemented by Sebastián Dubé's subtle bass lines, which sets the tone for what promises to be a captivating journey.
One of the most striking aspects of Fröst's performance is his ability to blend classical and jazz sensibilities seamlessly. His duet with viola player brother Göran on two Inventions showcases their effortless chemistry, while his double-tracking on the G major Sinfonia highlights his remarkable technical prowess.
The album also features some intriguing collaborations, including a reimagining of Gounod's Ave Maria melody by Anastasia Kobekina, which injects a surprising dose of Romantic flair into Bach's Prelude in C. While some might find this juxtaposition unexpected, Fröst navigates it with ease, infusing the piece with his own distinctive expressiveness.
The album reaches its most sentimental moment when Benny Andersson joins Fröst for a wistful rendition of the Largo from Keyboard Concerto No 5. The use of reverb adds an ethereal quality to the performance, which is fitting given Bach's timeless and enduring appeal.
Throughout the album, Fröst proves himself to be a master interpreter of JS Bach, imbuing each piece with his own unique flair and personality. This is not just another recording of classic Baroque music – it's a fresh, vibrant, and deeply personal exploration of some of the most beloved works in the repertoire.
Recorded in the tranquility of Fröst's countryside studio, where fellow musicians would often sleep over, the album exudes an intimate feel that draws the listener in. It begins with a poignant rendition of the aria from Goldberg Variations, complemented by Sebastián Dubé's subtle bass lines, which sets the tone for what promises to be a captivating journey.
One of the most striking aspects of Fröst's performance is his ability to blend classical and jazz sensibilities seamlessly. His duet with viola player brother Göran on two Inventions showcases their effortless chemistry, while his double-tracking on the G major Sinfonia highlights his remarkable technical prowess.
The album also features some intriguing collaborations, including a reimagining of Gounod's Ave Maria melody by Anastasia Kobekina, which injects a surprising dose of Romantic flair into Bach's Prelude in C. While some might find this juxtaposition unexpected, Fröst navigates it with ease, infusing the piece with his own distinctive expressiveness.
The album reaches its most sentimental moment when Benny Andersson joins Fröst for a wistful rendition of the Largo from Keyboard Concerto No 5. The use of reverb adds an ethereal quality to the performance, which is fitting given Bach's timeless and enduring appeal.
Throughout the album, Fröst proves himself to be a master interpreter of JS Bach, imbuing each piece with his own unique flair and personality. This is not just another recording of classic Baroque music – it's a fresh, vibrant, and deeply personal exploration of some of the most beloved works in the repertoire.
Martin Fröst is like the clarinet whisperer to Bach - sounds so natural 
. And I love how he weaves together different styles and eras to create this unique sound - it's like a dreamcatcher for your ears 
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. I mean, if the reviews are this glowing, what's the catch? Is it just a money grab or does Fröst actually bring something new to the table? And those collaborations with other musicians sound like a mixed bag - I'm all for innovation, but you never know how it'll turn out. And that use of reverb on the Largo... sounds like an easy way out to me 
I mean, who else can make Bach sound so cool? 
The way he blends classical and jazz is pure magic 
. And that duet with Göran on the Inventions? 
My heart can't handle it 
. Anastasia Kobekina's take on Ave Maria is also insane 
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His take on Bach's compositions is like nothing I've ever heard before - so elegant and soothing at the same time. I love how he brings his own style to the table, blending classical and jazz vibes without compromising the beauty of the original pieces. It's like he's speaking directly to your soul through the clarinet 
. And those collaborations?