J.S. Bach Concerto No. 7 in G Minor Marialy Pacheco

• Johann Sebastian Bach (1685 - 1750): Concerto No.7 in G Minor, BWV 1058:
• 1 Bach: Concerto No.7 in G Minor, BWV 1058: I Allegro 03:50
• 2 Bach: Concerto No.7 in G Minor, BWV 1058: II Andante 07:00
• 3 Bach: Concerto No.7 in G Minor, BWV 1058: III Allegro Assai 03:48
• Total Runtime 14:38

Info for J.S. Bach Concerto No. 7 in G Minor

Marialy Pacheco won the solo piano competition of the Montreux Jazz Festival in 2012 as the first woman, is an official Bösendorfer artist and is now a guest in jazz clubs, as well as at international festivals and concert halls, including artists such as Max Mutzke or Thomas Quasthoff, and skilfully links Afro-Cuban here. rhythmmical rhythms with s furious, partly tranquil jazz improvisations. Their roots lie in the classic - and last but not least that's why the Tasten-Zauberin can always find back to lyrical realms where the poetry of domestic Caribbean ballads merges with the impressionism of a Debussy. Her classical piano training in Havana has not only trained her ear, but also the stop for the fine intermediate tones and allows her a rather rare expression differentiation for jazz pianists. Her phrasing art is simply fantastic, her playing incredibly fast yet always clean," notes conductor Gordon Hamilton, under whose direction Pacheco has now recorded together with the Württemberg Chamber Orchestra Heilbronn Bach's G minor concert. "Fascinating how clearly each voice can be heard at Marialy and how she finds the right stop so that not all sounds sound the same - it has a thrilling intensity for the smallest delays at the right moment." Or to say it in the words of Marialy herself, "It should be groovy, because this music has its own inner pulse and heartbeat." And since the sixteenths in the first sentence should not sound "like machine gun fire" (Hamilton), but need a certain swinging lightness. Cuban just... without the choice Dortmunder now having introduced exaggerated emotions or even jazz-typical improvisations into her game. Much too great is her respect for and her love for Bach: "This music is so perfect, there is no need for improvisations." Instead, authenticity and sensitivity when the hammers hit the strings. And in the back of the head key genius Glenn Gould, whose clarity and structure in the game has always been her example: "Just as he wanted to play I too - pure Bach, alone the sounds and the resulting music." "Marialy has not tried to impose her musical stamp on the work, but has remained as close as possible to Bach's specifications," Hamilton draws a conclusion of this extraordinary project. "But thanks to their wonderful phrasing art, the dancing qualities of Bach's music are at once as thrilling to experience as rarely before in a recording of this concert." Your own note can also be created from great faithfulness.

Marialy Pacheco, piano
Württembergisches Kammerorchester Heilbronn
Gordon Hamilton, conductor

Marialy Pacheco
belongs to the most talented Cuban musicians of her generation. At age 29 she has achieved enormous success in the world of jazz including the first woman to be awarded 1st prize at the 2012 solo piano competition at the Montreux Jazz Festival, 1st place in the Cuban Jazz competition “Jo Jazz” plus numerous awards for her original compositions. She has released 5 albums under her own name with 2 new releases due by the end of 2012. Marialy has toured extensively solo and with her trio throughout Australia, Asia and Europe and shared the stage with world class musicians including Tommy Emmanuel, James Morrison and Karl Perazzo.

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