Symphonies of the Bach Family
Wilhelm Friedemann BACH (1710-1784)
Symphony in D minor, BR-WFB C Inc. 1 [8:51]
Carl Philipp Emanuel BACH (1714-1788)
Symphony in E-flat major, Wq/H deest [8:44]
Symphony in C major, Wq/H deest [8:51]
Symphony in E minor, Wq 177 (1759) [10:05]
Johann Christoph Friedrich BACH (1732-1795)
Symphony in D minor [8:16]
Johann Ernst BACH (1722-1777)
Symphony in B-flat major [6:49]
Johann Ludwig BACH (1677-1731)
Concerto for Two Violins and Two Oboes in D major [7:12]
Johann Sebastian BACH (1685-1750)
Sinfonia in D major, BWV1045 [5:43]
Berliner Barock Solisten/Reinhard Goebel
rec. 2021, Kammermusiksaal, Philharmonie Berlin
First recordings: WF, CPE: E flat & C, JE
HÄNSSLER CLASSIC HC21029 [63:37]
A couple of years ago, Hänssler Classic released an album titled “Cantatas of the Bach Family” (review), directed by Reinhard Goebel with Berliner Barock Solisten. Now they return with a purely instrumental selection from JS Bach and some of his sons and relatives. Freed from the serious business of church music, the listener is presented with eight delightful works that sparkle with wit and style.
The symphony by Friedemann Bach has a somewhat confusing history. The sole surviving manuscript originally was inscribed with younger brother Emanuel’s name, which was then crossed out and replaced with Sebastian, and finally Friedemann. The expert opinion is that it is most likely by the latter, and certainly it doesn’t sound like JS or CPE. My technical knowledge isn’t good enough to know what harmonic tricks he plays, but I can hear the unusual twists and turns. The slow movement particularly caught my attention with its melancholy air and dramatic interruptions.
Emanuel Bach’s orchestral works are instantly recognisable, that “staccato” rhythm is very distinctive. Here we have two not previously recorded symphonies, plus the E minor which has had a few outings, but none that I’ve heard. Each time I listen to his orchestral music, I think that I should do so more often. It is always fresh, exhilarating, surprising and makes me smile.
Johann Christoph Friedrich is generally regarded as the least of the four composing Bach sons, but his symphony here is a real standout. Smoother in style than Emanuel’s, it features wonderful rhythms in the outer movements. The slow movement isn’t quite as inspired, but overall, it doesn’t suffer in comparison with his better-known brother Emanuel.
The first five works are for strings only, so the two bassoons in the Johann Ernst symphony provide an ear-catching change in orchestral colour. He was a godson of JS Bach, the son of a second cousin. It’s not the most striking of works, but not dull either. Johann Ludwig was Sebastian’s third cousin, and a not insignificant court composer in his time. His music has started to have a presence in the catalogue. While the work is described as a concerto, it has been included on the recording because its structure is closer to that of a symphony – a proto-sinfonia concertante perhaps. Unsurprisingly, it sounds quite different to the works that preceded it, quite definitely of the Baroque era. The slow movement is dominated by a soulful melody given to the oboes. The final work is from the master himself, and is thought to be an opening sinfonia from a lost cantata. With trumpets, oboe and timpani, it is a triumphant and joyful way to close the programme.
Recently I reviewed a recording of early Italian cello concertos (review), with works by Sammartini, Tartini, Vivaldi and Leo. An artistic decision was made that these were galant era compositions (which I didn’t agree with) and furthermore, that this meant performances should emphasise grace at the expense of energy. On the recording considered here, we have four composers born well into the eighteenth century – a generation or more later than those on the cello disc – so are definitely of the galant era. The performances here under the reliable direction of early music master Reinhard Goebel, are brimming with verve, spark and dynamism, but without sacrificing grace. Such a contrast to the cello disc: here allegros are taken fast, and andantes at walking pace, not a crawl. The Andante from the E-flat major symphony of CPE Bach illustrates everything that is right with this recording – elegance, energy and élan – and in doing so, further emphasised the failures of the other recording.
I expect sound quality in modern recordings to be very good, here it is strikingly so. The five pages of notes are well-written/translated and informative. I was amused to see that the production team credits include a Covid 19 tester - certainly a sign of the times!
While a runtime of 63 minutes isn’t too bad, it is a shame that another one or two works couldn’t be found to fill the disc; Johann Christian perhaps? That is the only negative I can find – that surely speaks volumes about how much I enjoyed this.
David Barker
