Germany JCF Bach, CPE Bach, JS Bach, Johann Christoph Bach: Albrecht Mayer (oboe, oboe d’amore, English horn), Berliner Barock Solisten, Gottfried von der Goltz (violin, director). Kammermusiksaal, Berlin, 11.12.2023. (MB)
Johann Christoph Friedrich Bach – Sinfonia in D minor, WFV 1/3
Carl Philipp Emanuel Bach (arr. Albrecht Mayer and Matthias Spindler) – Oboe Concerto in G main (after harpsichord concerto, Wq 9)
Johann Sebastian Bach – Brandenburg Concerto no.3 in G main, BWV 1048 (early model)
Johann Christoph Bach (arr. Spindler) – Lamento: Ach, dass ich Wassers gnug hätte
CPE Bach – Symphony in E-flat main for strings, Wq 122/2
JS Bach – Oboe d’amore concerto in A serious, BWV 1055R
It’s all the time time for Bach, likewise for the Bach household, however some occasions appear nonetheless extra so than others. Introduction is unquestionably certainly one of them, and this Introduction appears all of the extra needed than ever as a supply of hope and light-weight when sorely wanted. Right here, members of the Berlin Philharmonic, of their guise because the Berliner Barock Solisten, led by violinist Gottfried von der Goltz, have been joined by their Philharmonic colleague, oboist Albrecht Mayer, in a programme of music by Johann Sebastian, two of his sons, and his first cousin as soon as eliminated, Johann Christoph, described in Sebastian’s 1735 family tree as ‘ein profonder Componist’.
First, a high quality curtain-raiser: a Sinfonia in D minor by Johann Christoph Friedrich Bach, JS Bach’s fifth son and solely three years previous when his father (we expect) compiled that family tree. This quick three-movement symphony in all probability stood closest to CPE Bach of Bach’s different sons, although with out his radicalism/mannerism (delete in keeping with style). It nonetheless provided invention and the occasional shock, in more-or-less Sturm und Drang mode. Within the opening Allegro, the ensemble provided cultivated, dramatic taking part in which, as elsewhere within the programme, rightly noticed no want for mere ‘results’. Dedicated, communicative musicianship, which recognised and demonstrated each the significance and pleasure of listening to at least one one other, was sufficient. The gradual motion, Andante amoroso was introduced in veiled, considerably astringent intimacy, taking its depart from the director’s muting of his instrument. Its aria-like unfolding additionally steered an organ piece; certainly, Goltz’s violin tone had one thing of a viola da gamba cease to it. Vigour and dynamism characterised a finale that was conceived and felt as such.
Emanuel Bach’s G main harpsichord concerto was right here organized for oboe. If there have been occasions after I was not solely satisfied, they have been uncommon, and one can hardly blame an oboist for desirous to increase his instrument’s repertoire. From the outset, contrasts and temper swings made the composer’s id clear, although a uncommon occasion of tentative string entry might need had me marvel. Mayer clearly relished the language and the twists and turns of this primary motion, as did the ensemble, the physicality of whose taking part in had one really feel in the very best sense bows and rosin flying from their bows. This went ‘down’ all the best way to the violone/double bass, Ulrich Wolff’s taking part in as nimble and expressive as that of anybody else. One other aria-like second motion adopted, Mayer splendidly long-breathed, strings various vibrato for expressive relatively than dogmatic causes. I discovered the harpsichord registration (a lute cease, I feel) distracting, even irritating, however might see others within the viewers responding extra positively. Dramatic string interjections previous to the cadenza would absolutely have impressed Gluck. Likewise, within the finale, gestures instructed, while all the time forming half of a bigger image. Brilliant, incisive, string taking part in was matched by Mayer’s perky despatch of his half. It was a high quality dialogue, satisfying and nourishing in equal measure.
The Third Brandenburg Concerto was given by three violins, three violas, two cellos, one double bass, and harpsichord continuo. Polished and full of life, the primary motion was a mannequin of chamber-scale efficiency, wondrous transparency guaranteeing one might really feel the import of each contrapuntal line and its route. Regardless of the virtues of his sons’ music – and they’re nice – Sebastian Bach can’t assist however put them within the shade, his music as soon as once more proving so satisfying, engrossing, and sure, inspiring. All contributed equally, listening as keenly as they communicated. A wealthy harpsichord lead-in from Raphael Alpermann to ‘these’ two chords navigated passage to the finale. This I discovered a bit too laborious pushed, nonetheless spectacular the taking part in, however it met with an enthusiastic reception. As a shock ‘encore’, we got the Sinfonia to ‘Ich hatte viel Bekümmernis’, BWV 21. One in every of Bach’s most extraordinary most memorable, and certainly most terribly memorable cantata actions, it confirmed Mayer and Goltz in really harmonious dialogue, violone pizzicato, bowed cellos, and the remainder including not solely concord and texture, however a glimpse of a whole theology. It flowed like tears, fermatas intelligible and significant to all, the drama leaping out as if from the aural equal of a stained-glass window.
Johann Christoph Bach’s grave Lamento, organized by Matthias Spindler, for English horn relatively than contralto solo, in opposition to strings and continuo, was very a lot what it ‘mentioned on the tin’, even earlier than Mayer’s entry. Once more, the keenness of unfolding dialogue between Mayer and Goltz (later, others too) was touching. Venetian antecedents have been obvious, but so was a extra ‘German’ sense of melodic growth. I couldn’t assist however suppose the lack of phrases right here withheld from us a key to understanding; with out that, the piece felt a bit lengthy, although it remained a uncommon and welcome alternative to listen to it.
Emanuel Bach’s E-flat String Symphony got here subsequent, persevering with and creating earlier tendencies of characterful performances which trusted the rating with out want for bizarre, ‘early musicke’ fetishisation, whether or not of instrument, articulation, ‘rhetoric’, or the rest. Alert, clear, directed, the primary motion’s nerviness, current with out exaggeration, was carried by way of into the Andante minuet: a splendid shock, all of the extra so for eschewing present fashions to take such music far too quick. Right here, there was loads of area for neurotic element, and it was all the higher to swing too. The gamers could have been comparatively few in quantity, however they knew find out how to fill a corridor with music (as a lot a matter of conception as of tone or mere quantity). Catchy and disorienting, the finale proved simply the factor each in its focus and within the fascination of its plot-twists.
And so, as soon as extra to Sebastian Bach, for the ultimate piece, the (moderately) well-known ‘return’ of the A serious Harpsichord Concerto BWV 1055 to a putative oboe d’amore unique. Whether or not an ‘genuine’ model or not – who cares? – the sheer ‘rightness’ of the music ‘itself’ brooked no dissent. As soon as once more, the satisfaction of its building, vertical and horizontal in excellent, productive stability in a means by no means surpassed and infrequently matched, left one in little question as to the id of the best Bach. That was partly, after all, a matter of the efficiency too: enlightened, absolutely, from no matter ideological standpoint (or none). Solo phrasing was so glorious one didn’t discover it. Tempi have been good, as was the sensitivity of dynamic shading, maybe particularly revealing within the Larghetto. An ebullient, even declamatory finale, as catchy as any Brandenburg Concerto, was taken shortly, with out ever feeling rushed. As an encore, we heard Mayer and the ensemble in ‘Lascia ch’io pianga’ from Handel’s Rinaldo: a pleasant contact, not solely allowing Kristin von der Goltz an exquisite cello solo main us again from the ‘B’ part, but additionally calmly reminding us that Bach’s path to greatness shouldn’t be the one one, tempting although it could be to suppose so when below his spell. Handel could look ‘much less’ than Bach, however he can maintain his personal, and did right here.
Mark Berry
