Igor MARKEVITCH (1912-1983) and Johann Sebastian
BACH (1685-1750)
The Musical Offering (1747) (arr. three orchestral groups and
solo quartet (1949-50)) [51:58]
Rémy Baudet (violin); Hans van Loenen (wooden transverse flute); Jeroen Reuling
(cello); Dirk Luijmes (harpsichord)
Arnhem Philharmonic Orchestra/Christopher Lyndon-Gee
rec. Musis Sacrum, Arnhem, April 1997. DDD
NAXOS 8.572158 [51.58]
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
Markevitch's Musical Offering is not a Stokowski-style lushification;
Markevitch proves to be more sensitive.