RECORDING OF THE MONTH
Johann Sebastian BACH (1685-1750)
Violin Concertos
Concerto for two violins in D minor, BWV 1043 [15:35]
Violin Concerto in E major, BWV 1042 [16:19]
Violin Concerto in A minor, BWV 1041 [13:36]
Concerto for three violins in D, BWV 1064R [15:58]
Anna Katharina Schreiber (violin -n BWV 1064)
Freiburger Barockorchester/Petra Mülljeans; Gottfried von der Goltz (violin/director)
rec. April 2012, Paulussaal, Freiburg
HARMONIA MUNDI HMC 902145 [61:35]
This disc is a delight, an aural and musical treat, and a riposte to anyone
who may think we already have enough recordings of the Bach concertos. It
is beautifully played, stylishly directed and captured in recorded sound of
wholesome, natural beauty. It is that sound that provides the disc’s first
great pleasure. The impression the listener gets is of being right at the
heart of the performance, close up to the instruments while allowing them
sufficient room to breathe. The balance is also extremely well captured, making
the soloists partners with the orchestra rather than combatants. When the
double concerto opens the tutti the sound is warm and rich while
open enough to remain transparent. When the soloists enter they emerge from
the texture, becoming first among equals rather than grandstanders. The to
and fro between orchestra and soloists is made even greater by the fact that
the soloists direct the orchestra, thus unifying the performances with stylish
wholeness. This partnership is so close that, at times in the A minor concerto
it feels as though you are listening to a double concerto here too, so warm
is the interplay between the soloist and the orchestra, even down to the individual
violinists in the band.
This also helps the tempo selections. First movements are brisk without being
wilful, but the slow movements get plenty of room to breathe too. The sublime
Largo of the Double Concerto, for example, is given plenty of space
to unfold organically with never a hint of rushing or of taking too long.
The tempo, like so much else on this disc, just feels completely right, reminding
us that this orchestra fosters relationships with soloists and conductors
as complementary individuals, doing everything by agreement and accord, something
of which Bach himself would doubtless have approved.
There is great beauty to their sound, too. Under some directors I have found
the Freiburg Baroque sound to be rather abrasive and unlovely - not here.
Instead there is polish to the finished sound without ever sounding manufactured,
and I found myself completely taken in.
There is a joyous buoyancy to the E major concerto, the first movement almost
bouncing along in its path, while the finale grows into each phrase so as
to lift the music from one level to the next. This is partly due to von der
Goltz’s organic choice of tempi. Mülljeans brings the same intelligence to
the pacing of the A minor concerto, particularly the slow movement which treads
the fine line between elegance and liveliness. The finale then swings with
all the vigour of a jig, making this a completely satisfying version of the
concerto.
The triple concerto is a reconstruction from Bach’s C major for three harpsichords
BWV 1064, but in many ways it highlights all the disc’s virtues and sets the
seal on it brilliantly. The interplay between soloists and orchestra is even
closer here, and at times in the outer movements it is difficult to tell whether
it is a soloist or an orchestral violin playing. That is a virtue rather than
a problem and it stands as testament to the fraternal music making both of
the Freiburg Baroque and Bach’s own concerto-style. The slow movement, by
contrast, interweaves the lines of the three violins over a gently ambling
continuo line, constructing a peaceful interlude between the busy outer sections.
All told, then, this is a near ideal version of the Bach concertos for anyone
who values partnership and cooperation over grandstanding and attention-grabbing.
Put it alongside other great period performers like Pinnock, Podger and Koopman.
Enjoy it as a worthy complement to classics like Grumiaux, Perlman and Oistrakh.
Simon Thompson
A delight, an aural and musical treat, and a riposte to anyone who may think
we already have enough of the Bach concertos.
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