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This
set of the Brandenburg Concertos arrive just as it was packaged
for the Margrave of Brandenburg at Carlsbad in 1718. Surely, we
all receive it with much more joy than the Margrave, who did not
seem to recognize the beauty of these wonderful concertos.
One
cannot help but be struck by the warm sounds of the Philharmonia
Virtuosi, especially in the opening movement of the Brandenburg
Concerto No.1, BWV 1046. The atmosphere created is one of courtly
airs and manners which must have exemplified the circumstances in
which these Concertos were first performed. It starts with a gentle
crescendo, leading into the thick layer of motivic structure as
Kapp notes in his introduction to the "Brandenburgs". Much thoughtful
phrasing gives the music a gentle forward momentum, yet it is contained
by a certain elegance that gives the music its regal demeanour.
This
being the first performance on modern instruments I'm acquainted
with, I think the the more refined sounds and intonation give rise
to a loss in the raw quality of the musical hunt suggested by the
use of the corni di caccia (or "horns of the chase"). In
this movement, Bach at times gave a triplet rhythm to the horns
to counteract the metrical quavers in the oboes and strings. This
has an interesting effect but is regrettably not accentuated in
this rendition. Also, the rustic sound of the solo bassoon is drowned
by the rest, not allowing this unique timbre to contribute to the
texture.
Left: Unverified portrait of Bach (1712),
by Johann Ernst Rentsch.
The
second movement has commendable performances by the solo oboe and
violin, backed by a transparent string and continuo accompaniment.
At times coming across with lingering sadness, there is never a
moment of soppiness. The horn solos on the high register are taken
with great care, sometimes appearing less confident than desired.
This movement is relatively easy-going, almost like an intermezzo.
The
Menuetto in the final movement is taken slowly. The first
trio by two oboes and bassoon exhibit the beautiful sonorous quality
of this combination that the Philharmonia Virtuosi players beautifully
and so skillfully demonstrate. The Polonaise features the
violino piccolo, which is associated with Polish traditional music.
The second trio performed by two horns and oboe is a triumph, especially
highlighting the exceptional technical ability of the horn players.
As a whole however, the final movement of the First Concerto is
lacking in dance character, what with the slow tempos and a much
too restrained feel that leads to something of an anti-climax.
Brandenburg
Concerto No.2, BWV1047 adds an F-trumpet and a flute to the
ensemble, and what a refreshing sound they provide! Some beautiful
phrases from the competent trumpet player adds some soaring musical
lines on top of impeccably precise ensemble below. Being an incredibly
difficult part, I must say it is well taken indeed, if not perfect.
One thing that perturbed me was one place where the flautist decided
to add an obvious vibrato to make a less important counter-line
stick out - unfortunately like a sore thumb.
The
Andante section leaves out the trumpet, clearing the stage
for the flute. Here again, the amount of vibrato used is very uncomfortable.
Otherwise, there is a strong sense of musicality exuding from the
soloists. The continuo part sounds strangely detached from the melodic
lines, with indifferent quavers. The Allegro assai opens
with a trumpet fanfare of sorts, later joined in by a solo oboe
and instruments. The Philharmonia Virtuosi achieves a nice build
to a bravura conclusion to the concerto.
The first movement of Brandenburg Concerto No.3, BWV 1048
features the entire string section with harpsichord and affirms
the quality of the musicians. This Concerto, after all, demands
soloist qualities in every single performer in the ensemble. As
a whole, Kapp leads his group (right) in a show of musicianship
that surpasses most of what has already been heard. An energetic
and dramatic movement, I find the tension in the build towards the
end - so important an element in this quintessentially Bach music
- deserving of mention.
The
two-chord Adagio is filled out with an improvised harpsichord
solo. The concluding Allegro is taken at a relatively quick
pace as compared to previous allegros, perhaps a final show of virtuosity
for the musicians. It finds so many avenues of expression in his
Concerto and the musicians here meet up to the expectations of the
music with great gusto. The first violin emphasises the return to
the tonic in the last bar in a light-hearted manner that is to me,
a gesture of triumph and one that warrants a tremendous ovation.
The
addition of two flauti di echo, conventionally taken as recorders,
once again dramatically changes the colour of the sound in the Brandenburg
Concerto No.4, BWV 1049. Though these concertos were certainly
not intended to be performed one after the other in concert-style,
I certainly admire the different audio experiences that Bach has
achieved, more so when listening to the movements in succession.
Traditionally, it is believed that the idea of the "echo" is that
the added recorders echo the principal violin part, which explains
the high level of virtousic demands on the solo violin versus the
relatively easier recorder parts. Yet, the recorder duo here stand
their own in the opening and final movements, adding to the music's
intensity and matching the violin's role. Kapp (left) chooses to
bring up the recorder parts to equal the violin's and this works
marvellously. This gives us an all new sound and perspective on
the concerto which is a breath of fresh air.
The
excitement generated by this traditionally soft-spoken instrument
certainly should not be underestimated. In the Andante, a
recurring two-quaver rhythm gives a pondering feel to the music
while the ensemble contemplates. The final run by the solo recorder
reaffirms its place in the music. More and more I'm convinced that
the recorders are the true stars in this work.
In
the final presto fugue, the virtuosity of the violin part
is astounding and our violinist carries it off wonderfully, comfortably
sharing the limelight with the recorders. The "tremolo" (actually
a semi-qualver rhythm) in the middle section of the solo is taken
rather harshly, which produces a rather astonishing effect in the
generally refined music. In all, an extremely satisfying performance
of the Brandenburg Concerto No.4.
I've
always thought that the "transverse flute" was a recorder. It is
defined in the Grove as simply an older name for the flute, played
horizontally. Usually considered a trio sonata for flute, violin
and keyboard, the balance in this rendition of the Brandenburg
Concerto No.5 favours the flute. This I find dubious because
of the player's choice to vibrato so much so consistently. In fact
it seems to me that the harpsichord is disappointingly under-emphasized
and is relegated to accompaniment, the big solo in the first movement
notwithstanding. Modern instruments already drown it out as it is.
The
Allegro tempo is once again taken at an extremely comfortable pace
but does not allow the harpsichord lines to exert its horizontal
push on the music. The first movement lacks motion, and lost my
attention pretty soon. The final movement starts off lively too,
but does not maintain its initial spurt of energy. The draggy second
movement does not get better. There were also some moments of uncomfortable
intonation between flute and violin that spoilt the serenity that
the trio seem to want to create.
Right:
J.S. Bach - 1746 portrait by E.G.Haussmann.
Brandenburg
Concerto No.6, BWV 1051 is a "day off" for the violins as Kapp
humorously states in his introduction. The feature of the viola
section is yet another dimension of sound which Bach explores. The
timbre of the viola de gamba adds a dry sound against the modern
viola, less resonant but so much clearer. The opening has a distinct
driving pulse which underlies the entire movement. The loss of the
high pitch instruments takes a little getting used to, but soon,
the ensemble lulls us with this full, rich timbre which subtly expresses
with a gentle restraint. This is especially felt in the second movement.
The last is another dance-like number which gives some prominence
to the cello. The quality of the musicianship is beyond doubt and
this movement achieves the dance quality intrinsic to Baroque music
that is so sorely lacking in the performance of the First Concerto.
Perhaps not coincidentally, this last movement recalls the regal
quality and the "hunt" in the First that aptly brings the Barandenburg
Concertos to a close.
Not
a perfect set, but the excellent renditions of Concertos Nos. 3,
4 and 6 makes this a worthwhile addition. The Philharmonia Virtuosi
is a promising ensemble though too inconsistent to make the cut
as an excellent one. The output from ESS.A.Y's Bach department is
certainly worthy of note. Taking the Bach's literature as seriously
as they do, it is hard to go wrong.
On
his desk, ADRIAN TANthinks
we should take bach all the tasteless jokes on the great composer's
name!
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381:
4.1.1999 © Adrian Tan
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