The Four Orchestral
ORFEO C 537 002 B (2
As soon as you hear the first bar of the First Suite you sense that this
is going to be a compelling set of performances. The acoustic is spacious
and clear, the string sound warm and at the same time full. These expectations
are met, moreover, across all four Suites. The recordings are live, made
at Salzburg during the years 1983-85, and the sound has come up really well
in these transfers.
Bach is the most indestructible of composers and it is a fact that he can
successfully be performed in many different ways, with larger or smaller
forces, original or modern instruments, faster or slower tempi. But the best
performance of the Bach Suites is clear: it is the next one. You can't hear
this wonderful music too often.
Végh is a real master, and no-one can match his ability to coax and
train a string ensemble. The phrasing and tempi seem absolutely appropriate,
and when you hear the performances the music sounds as though it could not
possibly be done differently. But of course it can. Could it be done better,
however? I doubt it.
The expressive music, such as the famous Air in the Third Suite, and the
slow introductions in the opening movements, has an eloquent gravitas,
while the lively dance movements and the busy fugues have inner vitality.
Special praise is earned also by Pamina Flum, who is a distinguished flute
soloist in the Suite no. 2.