There's an absolutely lovely review of this album by Alex Ross in the July 1 issue of The New Yorker:
Hardly a month goes by without a new rendition of Bach’s Brandenburg Concertos arriving in the virtual space where record stores used to be. A new version of Bach’s Brandenburg Concertos, by the Montreal-based group Ensemble Caprice, stands out not only for its fleet, characterful approach but also for its startling choice to intermingle Bach’s masterpieces with Baroque-style arrangements of seven preludes and fugues by Dmitri Shostakovich. ...As you listen, you imagine a time machine that has somehow transported Shostakovich's Bachian pieces to the messy desk of Bach himself, who, puzzled but intrigued, tries them out with his orchestra in Cöthen. He likes what he hears.
Executive Producer of The Professional Left Podcast. On staff at Crooks and Liars since 2007. Master's degree from Harvard. Happy wife of Driftglass. Mother of three geniuses. Obsessive knitter. Blogs at http://bgalrstate.blogspot.com. .
Originally a chorale written by Martin Luther, founder of Lutheranism, Bach transforms "Nun komm, der Heiden Heiland" from a church hymn to a cantata masterpiece. Now don't get me wrong, Luther's original piece was integral in making tonal harmony standard among composers of his day (basically bringing western music out of the dark ages), but Bach's version takes it to another level. Read more...