These concerti by Bach
surely need no introduction. This is
true except perhaps for BWV 1060 (the
final concerto on this disc, for oboe,
violin, strings and continuo) which
stands ambiguously. Its only material
evidence is a harpsichord and orchestral
version – and such versions exist for
all of Bach’s solo and duo concerti
compositions. In the 1920s, the musicologist
Max Seiffert came to the conclusion
that the concerto was intended for oboe
and violin, hence the performance we
have on this recording.
Although Bach was a
less prolific concerto composer than
his successful contemporaries – Vivaldi,
Scarlatti and Albinoni, to name a few
– his achievements in this genre set
him above and beyond the rest. He inherited
the three-movement Italian concerto
ritornello form but expanded
it both physically and intellectually
to produce an unprecedented musical
depth and brilliance.
Listen to this CD and
the technically difficult aspect of
these concerti will not be lost on you.
I don’t believe I have ever heard a
faster recording – the momentous speed
is positively irritating. Congratulations
to Hahn for racing through the music
with such ease and obvious skill, but
a more thoughtful and composed performance
would have been far more impressive.
The spirit of this
wonderfully rich music that covers the
gamut of emotions from the tender to
the ecstatic is sacrificed to Hahn’s
arrogant impulse to race. And to such
an extent that when the music paces
itself a little, when approaching cadences
for instance, the gesture seems contrived
and out of character. [i.e. track 1/4:30;
track 2/2:42 and 3:23]
It will come as no
surprise that the slow movements are
also performed too fast. Over and above
this problem is Hahn’s very small and
nervous vibrato that doesn’t sit so
comfortably with the intensely meditative
conceptions. Where is the pathos? Where
is the affection? Again, the potential
for real depth is left untouched.
The double violin concerto
in d minor, BWV 1043, goes by so quickly
that there is barely enough time to
reflect on the instrumental interrelations
with their melodic exchanges and dynamic
conversations.
What redeems this recording
is the final concerto – and all thanks
to an exciting performance by the oboist,
Allan Vogel. Although the piece is not
entirely saved, Vogel’s delightfully
poised inflections and delicate intonation
go a long way to mitigating the frantic
circumstances.
The general execution
is not bad – it is merely misdirected.
The performances are confident but there
is no forgiving the interpretation that
cries immaturity. Sadly, Hahn is all
technique and little thought. Her joy-ride
makes a mockery of Bach.
Aline Nassif
Hilary Hahn (vn); Margaret Batjer (vn II); Allan
Vogel (oboe) 