Bach made in 1729 the direction of the Collegium Musicum, an association of students and professional musicians founded by Telemann in 1704, which gave weekly concerts throughout the year in a coffee-house in Leipzig. For these concerts was created in concert in D minor (a stimulus for composition may have been the new instrument introduced in 1733 "a new key, as nobody here has ever heard "according to the announcement of the Collegium Musicum), adapted from an original (now lost) for violin and Cöthen period for which their material reused Bach cantatas BWV 146 and BWV 188. In its final form, has exerted a powerful influence on the development of the piano concerto, especially Johann Christian, that influenced Mozart, and this in turn Beethoven, etc.
Often BWV 1052 is numbered among the orchestral works of Bach, however, considering that the score needed "key concertato, two violins, viola and under " would be more appropriate described as chamber music. The vigor and strength of its opening ritornello mark one of the most familiar passages in all production Bach: The first measure seeks most orchestral material, and generates a high-powered movement and contrast based gloss tutti-solo interludes , they of the highest technical level (since the left hand does not remain confined to a mere paper to emphasize the bass line) and thrown into the harmonic and contrapuntal exploration. The Adagio begins with a broad melody of 13 bars (which differentiated in different hues throughout the movement),
where couples of repeated quavers mark as a basso ostinato a solemn hypnotic pattern, a framework for a rich and ornate recitative in the melodic. The energy and intensity back in the powerful final allegro, based on a recurring riff freely constructed (almost improvised) and imbued with a danceable nature. The last return of the ritornello is preceded by a short but elaborate cadenza, as in the first movement. From a public concert reached this recording in 1947 (EMI) by Eduard von fear Benium and restricted only to aficionados of historical bouquet: Unable to find here the warm timbre characteristic of the Concertgebouw Orchestra, As the noise of the disk array is clearly audible and the balance is up to the piano as the orchestra sometimes fades. In return we get a very personal recreation, precise and dynamic attacks marked: hear this as the soloist Dino Lipatti pianissimi invented crystal.
Sviatoslav Richter in 1954 had not been authorized to pass the Iron Curtain, so that this record was recorded on a visit to Prague, where the eccentric pianist practiced all night in the Opera House. While the dynamic orchestra is flat and low recording quality (dark and tarnished) to current levels, such is the technical exuberance and the tight control of pace (not swayed by the urgency of the music seems to convey) that the feeling is magical. Great central movement very slow tempo, with the piano in the foreground, an exquisite sense of poetry and full of depth. Vaclav Talich accompanying the front of the O. Czech Ph. (Supraphon) is skillful and clever, but the rope is not a model of accuracy and to follow all the dynamic indications in the score.
Ralph Kirkpatrick (Archiv, 1958) was a pioneer in the evolution of Baroque performance in the last half century: "Creative use of records, varied dynamics, plays a modern Neupert a expressive power and range sound absent from what is now considered historically appropriate. Strict rhythms, except in the final passage of the turbulent allegro, where the difficulty of the long and florid cadenza requires you to collect candles. The orchestra, opulent sound, is the (now happily recovered by Abbado) led by Lucerne Festival Strings Rudolf Baumgartner. Original vision, different, delicate yet robust and enduring over time.
Already in 1969 the Gramophone critic diagnosed suffering from elephantiasis for recording Hans Pischner (Naxos, 1963) and the balance to heel by the imbalance between the sound of the harpsichord, the orchestra, the Berlin State led by Kurt Sanderling (vigorous wonderful sound of the modern cello.) In the slow adagio, the wide opening and closing melody omitted key part of creating a powerful dramatic effect. Honest but unimaginative and spark in the end where the tempo allegro rested facilitates fingering. Please note.
The lightweight and balanced Bach Concertus Musicus Wien led by Nikolaus Harnoncourt (Teldec, 1968), revealing when it appeared the innovative presence of baroque instruments, now sounds decidedly conventional weak accents, flat on the dynamics, and disappointed at times starving timbre of the strings (although the two violins by hand) . The vitality and capacity for nuance is balanced by the austere concept sober (just a keypad) key Tachezi Herbert, whose precarious sound seems to doubt in the outer movements. You can practically apply the same speech to the prior interpretation of Gustav Leonhardt at the head of the Collegium Aureum (DHM, 1965), BWV 1052 which was outside the integral Teldec by contractual problems. Clean, clear sound, but with a limited overview. The classic.
The forceful and solid sound of the Munich Bach Orchestra (Archiv, 1973), was paradigm of precision and virtuosity. If the initial allegro no sense of haste (including variable tempo and Karl Richter is just faster than it began), the pace is flexible rearward causing a blur of sound. In the somber adagio in G minor (soft accent, legato from top to bottom) added ornamentation, curious and impossible records crescendos into an instrument of time (remember that the key strings are not hit by a hammer like a piano, but a nail stretch and release the string, making it resonate), yet clearly enough for a key part of that care, do not touch the bass notes (left hand) throughout this movement, even saves energy in the tutti, where he served one second harpsichordist (!). Despite its rhythmic vigor, his sense of dramatic continuity, orchestral color to its appeal, perhaps it is seen as monolithic and hard today. A dream the dreamer and making sound lacks definition.
Gustav Leonhardt repeated in 1981 to Seon and at the controls of the Leonhardt Consort. Right from the beginning is aware of the fluidity with which the music flows, the stunning clarity thanks to a stunning articulation, tempo, balance, phrasing always provided with a smooth, exquisite rubato style (although a hit point and unclear), but also a remarkable vocalist capacity. I miss the most daring dynamic range, and above all the lack of drama, for example in the scarce presence of cello gives the threat contained in the score. Curious way of scoring only the first note in the pairs of eighth in the adagio. The only acceptable sound balance. Perhaps too severe in his inflexible pace, but having a perfectly natural, ineffable Leonhardt represents authority.
's prodigious sound takes gaming to appreciate the calls and echoes between rich strings (about fifteen musicians) from The Inglés Concert (Archiv, 1981) and the different textures of the key keyboards. Andrew Pinnock conveys passion, spontaneity, resourcefulness, polished technique, musicality without fainting, fierce, dramatic reading unparalleled, vital and nimble in short phrases. Excellent recording (sound sour, sometimes ice cream), an exemplary balance.
The frenetic pace and incisive Tom Koopman further emphasizes the tutti breaks the Amsterdam Baroque Orchestra (Erato, 1990), powerful drama and abundance of the lower strings. Radical ! snapped critics. Clutter is welcome when accompanied by the fantasy and brilliance.
Berlin Classics released in 1990 this loose version by the Collegium Musicum Neues led Bachisches Burkhard Glaetzner. The harpsichordist Christine defends Schornsheim While the difficulties and discreetly added ornamentation, trills and small rallentandi. The problem comes in the recording lucky little differentiation and low timbre, in addition to the adage that reveals the ugly (nasal) sound of the lower keyboard key that removes all the mystique of the ground.
Bob van Asperen (Virgin, 1991) represents the combination and severity (excessively?) . Hers is a reading incisive, well-articulated and endowed with a natural rubato and very attractive. Accompanying special mechanism clarity, agility and elegance of expression on a powerful key (copy of a Taskin of 1764). Although Melanie Amsterdam strings are set at times, all as perfect as one would wish in terms of pitch, the overall result is outstanding. The sublime clarity and lightness lucid polyphonic allowing the use of a voice by turns some stiffness in slow motion. Aggressive, acidic attack, remembering the legendary recordings of Goebel (what a shame this concert ever recorded.) Exemplary fashion balanced sound making a clear separation of the strings with bells.
The concept muscular and determined by Pierre Hantai and Le Concert Français (Astrée-Audivis, 1993) drawn with absolute clarity of textures, harmonic and contrapuntal complexities: the voices (a part) note scrupulous attention to the vertical. The strict control and harsh, bouncy and rhythmic, sometimes not exclude a slight rubato, consistent with the strong interaction between tutti and solo, this discreet. It has the rigor of Leonhardt, Koopman's fantasy, the accuracy of von Asperen and above them a vocal quality, a cantabile: your password (your touch) is fused with the instruments.
Despite numerous orchestral accompaniment by The Academy of Ancient Music (directed in 1995 by Christopher Hogwood, L'Oiseau Lyre), the concept is lyrical and elegant: Lightness of accents, extraordinary liveliness, clearly defined lines and sense of proportion in the relationship between the solo virtuoso (Christophe Rousset, to highlight the rubato in the coda of the first movement) and ripieno warm and precise, very well in the outer movements, illuminating details and clearly articulated and effectively. Perhaps attention to the rhythmic component in the fast movements, causes a relative neglect of the horizontal. Electric, powerful, wonderful version in a less transparent no recording which includes the superb timbre of the harpsichord, rich and close (and yes, this resurgence of record changes longed primitive versions and outdated).
The Italian Concerto recorded this concert in 1997 for Opus 111. Bach This is a transparent, bright, lively, lavish, it seems that Vivaldi, close (in spirit: tempi, rubato) to the aged Leppard records for Philips. A refinement that allows exposing unexplored nuances (such as abnormal accentuation of the ground, which enhances the aroma Lutheran). Theatrical sense, Mediterranean, sharp dynamic mid-sentence, may be exaggerated in the cadences of Rinaldo Alessandrini. Virtuosity, elegance, clarity, grace, strength, without exaggeration, apotheosis of the Baroque concert, more or less rough. The excellent sound can hear the faint ring of the key (and also the mechanism).
Gregor Hollman school belongs to Leonhardt, but with swift tempi, changing light and threatening with a sense of urgency, an excitement. The key is integrated into the chamber ensemble Musica Alta Ripa (MDG, 1998), which live concert, with a higher voltage harmonic melody. Of precise articulation, expression is anything but austere. Making spectacular sound, clear and sharp despite the reverb.
Correct but without emotion, exact, cold sounds of Bach Robert Hill (Naxos, 1998). The broad tempi allow unparalleled clarity. Dark force that nearly matches the drama of the Pinnock, The recording is detailed both the fullness of the orchestra (the Cologne Chamber of modern strings, under the direction of Helmut Müller) and the ethereal timbre of the harpsichord.
By moving the show from the violin, the harpsichord Bach never proceeded mechanically but strove to settlement own identity by submitting the model to the further development and depleting potential. This often meant adding new pieces of counterpoint, alteration of detail (due to the different tonal qualities) and structural modifications. In fact, restructuring and changes are significant enough (in particular the deployment of the left hand and the invention of the figurative language of the key) so that the work can be considered a composition in its own right. Therefore, the creative interpretation of Fabio Biondi and Europa Galante (Virgin, 1999) provides details of the surprises in cadenzas, and a novel continuous-key, positive organ and lute. The violin, dramatic and even the ornate rococo in its articulation, gives a sweet richness of timbre in their generous vibrato. Taking advantage of the dynamic possibilities of the instrument is better in the fast movements, with his outbursts tempo game, as in the adage seems too syrupy and without contrast timbre. Sound decision focuses on the soloist, being distant, vague and unclear in the definition of the remaining lines.
Café Zimmermann takes its name from where the concert was released the public around 1735. Directed by Paul Valetti (Alpha, 2001) This chamber group (a party) endorsed the concept of primus inter pares : Tempi light, soft dynamic games, away from any bombast, technically polished, cool stream which contrasts with the key wrapped Celine Frisch, which abounds in the use of ornaments carefully chosen, especially in the adagio enigmatic harmonic changes. Superb recording clear, spacious, very interesting contribution.
line in the same chamber orchestra Pinnock proposed scheme but with a slightly smaller (4-4-2-2-1) Concerto Copenhagen (CPO, 2002) directed by Lars Ulrik Mortensen audience a more severe Germanic does not disappoint, but not exciting. Elegant, the key is integrated into the whole: the loss of immediacy and clarity of detail is offset printing live concert.
simple strings renewed Academy of Ancient Music directed by Andrew and Manze (Harmonia Mundi, 2002) allow a flexible approach to game dynamics, elastic tempo as necessary (marked with certain roughness). Richard Egarr articulates a key intimate sound (excessive?) In the background, because it sounds a lot more of continuous theorbo (deep and resonant, compensating for the lack of low-end body of the key) and adds a different color and provides a delicate and elegant feeling. The tempo of the adage is particularly quiet, highlighting the fragility, softness and emotion of the score. Take bright, warm sound.
The ensemble Sonnerie (Gaudeamus, 2006) is strictly chamber music by playing a voice, giving a clear and transparent result. With a playful use of Agogo, with frequent changes of pace (comes to mind-concept drama giocoso), this retooling fits perfectly with the work (the same Monica Huggett thinks was made modeled after a Vivaldi concert.) Well the key continuous, enduring harmony on the violin in the cadenza (which includes an alternative coda interpreter unassailable technique, playing without vibrato to a violin from 1750). The care can lead to stress the details to exaggeration. The main distinction of sound levels, the discreet rubato, the roundness of the bass, its depth, concentration and severity, are preferable to the fun version of Biondi. Excellent sound, warm and reverberant.
also a string quintet accompaniment version has the Gli Incogniti (Zig Zag Territories, 2007 ) to the Italian maniera, with a range of tempi very light ("prestísimo or rushed?), without threatening the perfect rhythm control, if blurred details of phrasing and counterpoint. The violin soloist is featured too Amandine Beyer (the only becomes the accompaniment of the tutti, exchanging papers.) Danceable rhythms, so essential in this repertoire, are barely discernible. Phenomenal continued the delicate harpsichord, but can not (or not pursue) makes us forget the faith and the anointing of Huggett.
The sound of the Byzantine Academy (directed at the harpsichord by Ottavio Dantone, L'Oiseau Lyre, 2008) for a voice part is naked, emaciated, especially the lower strings (rather than low are dwarfs). Aggressive in the allegros, in the slow movement let the music breathe genuine lyricism. If the ornaments by the first violin are a breath of fresh air may be considered unfortunate choice of key ring dry and pale. Disappointment, then, since nothing has to do his temperamental Vivaldi with the coldness displayed in this record.
One last comment on recent versions of Hélène Grimaud and David Fray, not included here because I believe lack of sufficient musical entity. In some years now the record companies flood the patio covers suggestive photographs of talented (?), Young and beautiful stars. Does it correspond to a real shortage of gifted musicians or just a marketing strategy? Compare with the covers that a few decades ago adorned the covers of vinyl. Obviously Reiner, Klemperer and Toscanini do not make me up (both) the libido.
Xenophon
A request to update the entry record including Stephan Mai, Akademie Für Alte Musik Berlin (Deutsche Harmonia Mundi, 2006), initially found no gap to the unique competition, Huggett, Biondi ... Tempo between light and quick, very discreet rubato, sometimes in the first movement the pitch me is odd (perhaps by the use of scordatura?).
0 comments:
Post a Comment