Martin Fröst's interpretation of Bach's music on his latest album is a masterclass in elegance and refinement. The Swedish clarinetist brings an unparalleled level of silkiness and eloquence to the iconic composer's works, imbuing each piece with a sense of freshness and fun.
The album was recorded in Fröst's secluded studio in the Swedish countryside, where he was joined by fellow musicians who were so comfortable in his company that they chose to sleep over. This intimate setting permeates every note of the music, creating an atmosphere that is both warm and unassuming. From the opening aria from the Goldberg Variations, it's clear that Fröst is on a mission to reinterpret Bach's music in his own unique way.
Frost's chemistry with his brother Göran, a viola player, is particularly noteworthy in two Inventions, where they trade melodic phrases with ease and precision. On the G major Sinfonia, Fröst doubles himself up, creating an astonishing display of technical virtuosity that leaves even the most skilled players in awe.
One of the standout features of this album is its eclectic approach to Bach's music. Jonas Nordberg's theorbo adds a unique texture to the Air on the G String, while Anastasia Kobekina's cello playing takes a dramatic departure from traditional baroque cello lines with her rendition of Gounod's Ave Maria melody.
However, Fröst and his collaborators are not afraid to push boundaries or indulge in a bit of schmaltz. A wistful reverb-heavy version of the Largo from the Keyboard Concerto No 5, featuring a guest appearance by Benny Andersson, is a particularly effective example of this approach, with even Abba's iconic soundscapes paying homage to Bach's timeless genius.
Throughout the album, Fröst's love for Bach shines through in every note. This is an artist who has mastered the art of reinterpretation and is willing to take risks to bring new life to music that has been done countless times before.
The album was recorded in Fröst's secluded studio in the Swedish countryside, where he was joined by fellow musicians who were so comfortable in his company that they chose to sleep over. This intimate setting permeates every note of the music, creating an atmosphere that is both warm and unassuming. From the opening aria from the Goldberg Variations, it's clear that Fröst is on a mission to reinterpret Bach's music in his own unique way.
Frost's chemistry with his brother Göran, a viola player, is particularly noteworthy in two Inventions, where they trade melodic phrases with ease and precision. On the G major Sinfonia, Fröst doubles himself up, creating an astonishing display of technical virtuosity that leaves even the most skilled players in awe.
One of the standout features of this album is its eclectic approach to Bach's music. Jonas Nordberg's theorbo adds a unique texture to the Air on the G String, while Anastasia Kobekina's cello playing takes a dramatic departure from traditional baroque cello lines with her rendition of Gounod's Ave Maria melody.
However, Fröst and his collaborators are not afraid to push boundaries or indulge in a bit of schmaltz. A wistful reverb-heavy version of the Largo from the Keyboard Concerto No 5, featuring a guest appearance by Benny Andersson, is a particularly effective example of this approach, with even Abba's iconic soundscapes paying homage to Bach's timeless genius.
Throughout the album, Fröst's love for Bach shines through in every note. This is an artist who has mastered the art of reinterpretation and is willing to take risks to bring new life to music that has been done countless times before.
just listened to martin frost's latest bach album and i'm still reeling from the experience his playing is like butter for your soul so silky smooth 
the way he & co recreate these classics with a modern twist is pure magic, especially that benny andersson collab on the largo it's like abba's iconic soundscapes are paying homage to bach in a major way 
. He's got this way with Bach's music that just makes you want to listen over and over again... it's like he's speaking directly to your soul 
. And Anastasia Kobekina's cello playing on Gounod's Ave Maria is seriously mind-blowing 
. I'm loving how Fröst doesn't just stick to traditional baroque sounds - he adds his own flair and makes it fresh again 
... what more can you ask from an artist? 
! it's like he's speaking straight from his heart with bach's music... i mean, have you ever heard anyone else make those pieces sound so fresh & fun? 
it gives me chills! 
i also love how fröst isn't afraid to try new things & add a bit of schmaltz - that reverb-heavy version of the largo from the keyboard concerto no 5 is GORGEOUS 
it's like he's bringing bach into the present day, and making us see him in a whole new light 
. he's got this effortless elegance on the clarinet that just transports you to another world... also love how he's not afraid to get a bit weird with the arrangements, like that abba collab on the largo 
Every time I try to post a review, it's like the site is intentionally slowing me down. And don't even get me started on the layout - it looks like they copied and pasted the exact same template for every review. 
! And can we talk bout Göran Fröst, his chemistry w/ his bro is everything 
! Anastasia Kobekina's cello playing in Gounod's Ave Maria melody is also a highlight, it's like she brought her own special vibe 2 the table 
. the way fröst interacts with his brother on those inventions is, like, so effortless & beautiful 
and then there's this air on the g string thing... i love how nordberg's theorbo adds this weird cool texture 
. anyway, what really gets me is how fröst isn't afraid to take risks & make it sound schmaltzy 
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