Martin Fröst brings his unique silkiness and eloquence to JS Bach's works on this latest recording, imbuing each piece with freshness and fun.
The German composer's music was written well before the modern clarinet emerged, yet Fröst makes it sound remarkably alive. The result is a captivating selection that feels more like a jazz suite than a traditional baroque album. The intimate atmosphere of the recording, captured in Fröst's own Swedish studio, adds to the sense of spontaneity.
From the opening aria from the Goldberg Variations, it's clear that Fröst is on his game, supported by a talented ensemble including Sebastián Dubé on bass and Göran Fröst, Martin's brother and viola player, who joins him for two Inventions. The G major Sinfonia becomes a thrilling workout, with Fröst holding his own against double-tracked versions of himself.
Other guest artists bring interesting twists to the music. Jonas Nordberg's theorbo is used to avoid clichés in the Air on the G String, while Anastasia Kobekina trades baroque cello lines for Gounod's lush Ave Maria melody beneath Fröst's rippling clarinet playing. Even Benny Andersson from Abba makes an appearance on a reverb-heavy version of the Largo from the Keyboard Concerto No 5, but it's not too schmaltzy to detract from Fröst's virtuosity.
Throughout this album, Martin Fröst proves why he remains one of the most elegant and expressive clarinetists around.
The German composer's music was written well before the modern clarinet emerged, yet Fröst makes it sound remarkably alive. The result is a captivating selection that feels more like a jazz suite than a traditional baroque album. The intimate atmosphere of the recording, captured in Fröst's own Swedish studio, adds to the sense of spontaneity.
From the opening aria from the Goldberg Variations, it's clear that Fröst is on his game, supported by a talented ensemble including Sebastián Dubé on bass and Göran Fröst, Martin's brother and viola player, who joins him for two Inventions. The G major Sinfonia becomes a thrilling workout, with Fröst holding his own against double-tracked versions of himself.
Other guest artists bring interesting twists to the music. Jonas Nordberg's theorbo is used to avoid clichés in the Air on the G String, while Anastasia Kobekina trades baroque cello lines for Gounod's lush Ave Maria melody beneath Fröst's rippling clarinet playing. Even Benny Andersson from Abba makes an appearance on a reverb-heavy version of the Largo from the Keyboard Concerto No 5, but it's not too schmaltzy to detract from Fröst's virtuosity.
Throughout this album, Martin Fröst proves why he remains one of the most elegant and expressive clarinetists around.
His take on JS Bach's works is like a breath of fresh air - it's got that jazz vibe going on, you know? 
I mean, who says classical music has to be boring? Not me, that's for sure! 
And can we talk about the production quality? The intimate atmosphere in Fröst's studio is pure magic 
. The way he and his ensemble bring these old pieces to life is just incredible... it's like they're having a party up there 
. I'm not surprised Benny Andersson showed up on that Largo track - the guy's got great taste in music 
! Fröst, though, is the real MVP - his silkiest playing and eloquence are on full display here 
.
and can we talk about that ensemble? sebasián dubé on bass is a total hidden gem 
and Göran fröst (martin's bro 
) adds this cool viola element to some of the tracks. 
it feels like such an intimate album, u know? like martin recorded it in his own studio or something 
.
? Maybe Fröst is just coasting on his reputation as a master clarinetist and not actually pushing the boundaries of JS Bach's works. And don't even get me started on that Swedish studio – isn't it just gonna sound sterile and lack depth compared to a proper concert hall? Plus, I'm not sure about this whole "jazz suite" vibe... doesn't it feel like Fröst is trying way too hard to make the music sound edgy and cool? And what's up with all these guest artists – isn't that just gonna disrupt the flow of the album and create a bunch of awkward transitions?
. I'm not even kidding when I say this album feels like a party in your living room, with all these talented folks jamming together 
. Benny Andersson collab? Yes, please! Abba fans unite 
!
He's got this magic touch that makes JS Bach sound super fresh and fun. I mean, who knew baroque music could be like a jazz suite? 
The way he brings out the "silkiness" in his clarinet playing is just amazing. And I love how the intimate atmosphere of the recording studio adds to the sense of spontaneity - it's like you're right there with him playing each piece! 
. And can we talk about how talented the rest of the ensemble is? Sebastián Dubé's bass lines are straight fire 
. It's amazing how this album captures the intimacy of an acoustic performance in his own studio. I love how the different guest artists add their unique twist to the music without overpowering Fröst's virtuosity 
! The way he brings that silky smoothness to the clarinet is pure magic 
. And can we talk about how fresh his take on these classic pieces is? It's like a breath of air 
️. I love how he doesn't hold back and just lets the music shine through 
. The way he works with that talented ensemble is like a dream team, each player elevating the others to new heights 
. Fröst is truly a master of his craft 
, and this album is proof of it. Give it a listen ASAP! 
#MartinFröst #JSBach #ClarinetLegend #MusicToMyEars
! Martin Fröst is definitely one of the most elegant and expressive clarinetists out there 
I'm all for innovation, but sometimes I think we just end up over-innovating and losing the essence of the music...
Who knew JS Bach could be so COOL?! 
This album got everything: freshness, fun, & some awesome guest stars like Jonas Nordberg's theorbo 
of clarinet mastery
of JS Bach's works! He brings such a unique vibe to each piece 
The intimacy of the recording studio adds to the sense of spontaneity 
Jonas Nordberg's theorbo is genius 
Fröst is just so elegant and expressive on his clarinet 
His brother Göran joining him on viola for a couple of tracks was a lovely touch 
Overall, this album is pure magic 
.
. And Fröst himself? He's still one of the best clarinetists out there. But next time, can we just stick to the classical form, no? 
. What really stands out to me is how well-suited he sounds for a jazz suite vibe – it's like he's blending period pieces with modern sensibilities 