Martin Fröst's latest release brings a refreshing spin to JS Bach's timeless compositions, imbuing the iconic pieces with a modern sensibility that is as silky smooth as it is effortlessly elegant. The Swedish clarinetist, known for his technical precision and emotional depth, proves once again why he remains one of the most celebrated figures in the classical music world.
Recorded at Fröst's intimate studio in the Swedish countryside, the album features an all-star cast of musicians who bring their own unique flavors to the table. The opening aria from the Goldberg Variations sets the tone for a series of performances that are both virtuosic and deeply felt. One of the most striking aspects of this disc is its conversational intimacy; it's clear that Fröst has surrounded himself with fellow musicians who share his passion for Bach, but also bring their own distinct perspectives to the table.
Frost duets seamlessly with his viola-playing brother Göran on two Inventions, while a double-tracked performance by Fröst himself on the G major Sinfonia showcases the clarinetist's remarkable technical facility. Meanwhile, Jonas Nordberg's masterful theorbo playing brings a welcome sense of nuance to the Air on the G String, avoiding the temptation to rely on overfamiliar tropes.
One of the most unexpected delights of this disc is Anastasia Kobekina's reimagining of Gounod's Ave Maria. It's a bold move that pays off in spades, with Fröst providing a stunning counterpoint to her rich, sonorous cello lines. The result is a piece that feels both modern and deeply rooted in the baroque tradition.
The album's closer, a reverb-heavy rendition of the Largo from Bach's Keyboard Concerto No 5, brings an extra layer of emotional depth to Fröst's performance. It's a wistful, elegiac take that conjures up memories of late-night reveries and moonlit serenades – it's almost as if Abba themselves have turned to Bach in the end.
Recorded at Fröst's intimate studio in the Swedish countryside, the album features an all-star cast of musicians who bring their own unique flavors to the table. The opening aria from the Goldberg Variations sets the tone for a series of performances that are both virtuosic and deeply felt. One of the most striking aspects of this disc is its conversational intimacy; it's clear that Fröst has surrounded himself with fellow musicians who share his passion for Bach, but also bring their own distinct perspectives to the table.
Frost duets seamlessly with his viola-playing brother Göran on two Inventions, while a double-tracked performance by Fröst himself on the G major Sinfonia showcases the clarinetist's remarkable technical facility. Meanwhile, Jonas Nordberg's masterful theorbo playing brings a welcome sense of nuance to the Air on the G String, avoiding the temptation to rely on overfamiliar tropes.
One of the most unexpected delights of this disc is Anastasia Kobekina's reimagining of Gounod's Ave Maria. It's a bold move that pays off in spades, with Fröst providing a stunning counterpoint to her rich, sonorous cello lines. The result is a piece that feels both modern and deeply rooted in the baroque tradition.
The album's closer, a reverb-heavy rendition of the Largo from Bach's Keyboard Concerto No 5, brings an extra layer of emotional depth to Fröst's performance. It's a wistful, elegiac take that conjures up memories of late-night reveries and moonlit serenades – it's almost as if Abba themselves have turned to Bach in the end.
His studio recordings are always so cozy and intimate, like you're sitting right there with him and the musicians 
But I gotta say, I'm a bit skeptical about Anastasia Kobekina's reimagining of Gounod's Ave Maria – it feels like a risk that doesn't entirely pay off for me 
I mean, I love her cello playing as much as the next person, but this one piece just didn't quite resonate with me. Still, Fröst and his crew do an amazing job of making the album feel both modern and rooted in tradition 
The G major Sinfonia performance is seriously impressive, though – that double-tracking by Fröst himself? 
. I mean, who wouldn't want to hear those iconic pieces made silky smooth and effortlessly elegant? 
The fact that he's surrounded himself with talented musicians who share his passion for Bach but also bring their own unique flavors to the table is pure gold 
.
. And that duet with Göran on Inventions? Magic 
. Jonas Nordberg's theorbo playing on the Air on the G String adds this wonderful nuance and subtlety to the track. It's not often you hear the baroque tradition done so well, but this album is a great example of how it can be reimagined for a new audience 
.
Fröst's counterpoint to her cello lines is stunning. It's amazing how this album makes you feel both connected to the past and present at the same time - like it's tapping into something deeper and more universal 
.
i'm loving this new album by Martin Fröst! the way he reimagines JS Bach's classics is so refreshing, like a breath of fresh air 
. and can we talk about the viola-playing brother Göran? duetting with Martin is like they were meant to be together 
. but what really gets me is how Anastasia Kobekina brings her own vibe to Gounod's Ave Maria... it's like, who knew Bach could sound so modern and cool? 
. Fröst's clarinet skills are insane btw! 
gotta say, i love how he puts a modern spin on bach's classic pieces without changing the essence of them. it's like they're having a conversation w/ each other, you feel? 
the way he weaves together the different instruments and styles is pure magic 
goran fröst is so underrated on this record - their duets are giving me all the feels 
! The way he pairs up with his bro Göran on those Inventions is pure magic 
. I'm all for innovating the classics, but Fröst does it so effortlessly – silky smooth elegance, you know what I mean 
. And that Largo at the end? Gives me all the feels 
. Fröst really knows how to tap into Bach's emotions