This is the eighth and final volume in Naxos's Complete
Orchestral Works of Igor Markevitch. It is in fact a re-release
of Marco Polo 8.225120, which was labelled, somewhat confusingly,
volume 7. The Naxos series began in 2008 with a volume of newly
'discovered', relatively early works, after which all other
discs have been re-releases of the earlier Marco Polo series
- meaning that Naxos volume 2 was the same as Marco Polo Volume
1, Naxos volume 3 the same as Marco Polo volume 2, and so on.
Naxos volume 1 is reviewed here,
2 and 3 here
(as Marco Polo 1 and 2 alongside Marco Polo 3), Naxos 4 and
5 here,
volume 6 here,
and volume 7 here
(as Marco Polo 6). This final release has already been reviewed
here,
with plenty of historical and technical description, so the
review below focuses primarily on the music.
To reassure those fearing otherwise, Markevitch's Musical
Offering is not a Stokowski-style orchestration/lushification
exercise, although the opening Ricercar does start the
work off in that direction. But Markevitch proves to be more
sensitive.
Whether or not there is any real musical point to his reworking
of Bach is a moot point - on balance probably not. Nevertheless,
Markevitch was fond of this work, conducting it himself on several
occasions - something he did not do with his original music!
And there is no doubting the intelligence of Markevitch's reshuffling
and tweaking of Bach's ten original Canons into a kind of symphonic
arch, now entitled 'Theme and Variations' - nor the stroke of
brilliance provided by the appearance of first the oboe, then
the cor anglais and bassoon in 'Variations' V and VI.
The trio Sonata section is less successful - not in itself,
but in the context of an otherwise orchestral arrangement, the
chamber forces of the Sonata - almost pure Bach - seem
out of place. In his notes Lyndon-Gee argues that the participation
of orchestral strings in the Sonata - to amplify the
solo violin - "cleverly integrates" this section into
the composition as a whole. But the strings are so discreet,
the harpsichord so obviously Baroque, that the Sonata
sounds more like a separate piece. Still a very attractive one,
though.
The orchestra returns for the final Ricercar, which Markevitch
labels Fuga. Using mainly strings, he makes of this beautiful,
enigmatic fugue a rich, dark, but ultimately uplifting finale.
Overall, it is Bach's, not Markevitch's, genius that illuminates
this Musical Offering - but probably that was what Markevitch
expected and wanted.
The liner-notes, which include an extended essay on Markevitch
and his music, a detailed chronology of Markevitch's life, and,
for CD notes, a thorough discussion of Bach's original work
and what Markevitch does with it, have all been updated and
expanded from the Marco Polo original. It is a pity that many
people will still require a magnifying glass to read the tiny,
dense print!
Lyndon-Gee and the Arnhem Philharmonic, with the soloists drawn
from its ranks, give another sterling performance. The sound
quality is not the greatest. It is clear, certainly, and communicates
the intentions of Markevitch's stereophonic arrangement of instrumental
forces on stage. However, resonance and background rumble are
more than evident in the quieter sections of the opening Ricercar
and the Theme and Variations. The Sonata is far
better recorded - presumably the microphones are closer to the
performers and therefore pick up much less background noise.
Byzantion
Rémy Baudet (violin); Hans van Loenen (wooden transverse flute);
Jeroen Reuling (cello); Dirk Luijmes (harpsichord) 
