Search - Johann Sebastian Bach, Ronald Kinloch Anderson, George Malcolm :: Bach: Orchestral Suites & Concertos

Nostalgic work in the best pre-period performance style

Larry VanDeSande | Mason, Michigan United States | 11/17/2006

(5 out of 5 stars)

"This box is a nostalgic event for anyone that started listening to and collecting Bach recordings in the post World War II era. It is, indeed, an exemplar of the way Bach was interpreted in the "new" authenticity of the postwar period where Karl Munchinger and Pablo Casals were among the better interpreters of the composer.



In fact, the way Yehudi Menhuin leads the Bath Festival Orchestra in his readings of the Four Orchestral Suites reminds me very much of that old 2-LP set I had by Casals and the Marlboro Orchestra way back when. Denis Clift's trumpeting in the Brandenburg Concerto No. 2, more than any other recording of the music I've heard, reminds me of the opening of William Buckley's weekly polticial talk show that used to be on PBS in the 1970s. And George Malcolm's loving playing of Largo from the Harpsichord Concerto in F, BWV 1056, reminds me of its use in Woody Allen's film "Hannah and Her Sisters".



So is there more to this set than nostalgia? That depends on your perspective. If you are under age 40 and have been raised in the Speedy Gonzales period practice performance environment of ancient instruments, sour woodwinds, wiry strings and off-pitch playing, you may not immediately find equal enjoyment in this set.



If you are broad-minded about Bach performance you'll find a set that includes almost every significant piece of "orchestral" music by Bach performed with rapt attention, British reserve, and much love and kindness in andantes and largos. Even that canonic exercise for musicians, The Musical Offering, is played musically and has allure for nonplayers who simply listen to the music without a score.



One significant caveat for all listeners: the middle section of the Brandenburg Concerto No. 4 substitutes a lengthy unBachian movement arranged by British composer Benjamin Britten. Critics often said Britten's recording of the Brandenburg's was one great composer interpreting another. In this movement, it appears Britten tried to merge with Bach. I wouldn't say the results are completely successful.



Otherwise there are multiple felicities inside this box. While Menhuin gets top billing and has his face plastered on every slipcase, I think harpsichordist George Malcolm is the star of the program. Playing a harpsichored that sounds a lot like the one Lurch played on "The Addams Family" television show of the period, Malcolm is always the arbiter or propriety and good judgment in the various concerti, whether he is playing solo or with partners in 2-, 3- or 4-harpsichored concerti featuring the likes of Thurston Dart, Denis Mathews and Simon Preston. In particular, the concerti BWV 1054, 1060-61 and 1064-65 are wonderfully done with taste, humanity and style.



I would also draw attention to magnificent readings of the Triple Concerto BWV 1044 and the Double Concerto for violin and harpsichored BWV 1066. I think the former concerto, which features marvelous playing by soloists Menhuin on violin, William Bennett on flute, and Malcolm on harpsichord, is one of the most satisfyings readings of this music I've ever heard.



The Bath Festival Orchestra is never less than inspired under Menhuin in the Brandenburg concertos, where they are ably assisted by soloists Malcolm, flutist Elaine Schaffer, and Christopher Taylor on recorder, among others. While Menhuin's style in the Orchestral Suites may seem a tad reserved and deliberate by 21st century PPP standards, they are never less than musically performed and always project the Bach that begot 20-plus children and buried 10 of them and a young wife during his lifetime. There is nary an episode of showmanship or stylistic pursuit for its own purposes; everything is done to illuminate Bach and his message.



Bach's humanity is constantly on display in this wonderfully consistent collection of performances from a past era that is still relevant in today's more wildy colorful, personal and rambunctious epoch. The recordings, which were made from 1956-74, are typical of the crossover from mono to multimiked stereo. Yet the recordings never draw undue attention to themselves; it is the players that draw attention to the composer.



As other reviewers here has said, this is an unusually generous collection of Bach's most popular music on 7 CDs. You don't have to be an old timer to enjoy this collection although it helps. If you are relatively new to Bach, think of this as an exemplar of the way things once were in the very best sense of that affirmation."

Super! But...

Archimedes | Pennsylvania | 02/14/2002

(4 out of 5 stars)

"I'm reviewing this under false pretences. I have only heard the four orchestral suites by Menuhin/Bath. I must say: they are my personal favorites. The concertos--I have heard these piecemeal, and not all of them, either; I can say that they are excellently played (see below), but having only heard each of them once (or not at all), I really don't have a right to an opinion.STYLE. For most listeners, the style of performance is a big issue: is it "authentic"? That can be either a big plus or a big minus, depending. But Menuhin made these performances very early, at a time when authentic *instruments* were still trying to establish themselves as viable choices, but where everyone was beginning to realize that other things--tempo, phrasing, instrumentation, ornaments--were done differently back in 1725 than they were done in 1850. To summarize, Menuhin was one of the best--if not *the* best--among those who were very effective in their choice of authentic performance style, but who never used authentic instruments (except, of course, for using harpsichords instead of pianos, and possibly, almost-authentic brass). Authentic purists may scream at my characterization, but let them. I love authentic instruments, and I own a myriad recordings of authentic performances, but the Menuhin/Bath Bach Suites have pride of place among my Bach suites (or "Ouvertures," as they were called).For instance, Menuhin uses either one or two first violins, way back in 1960--in contrast to four or more, which was the norm at that time. In trios and doubles, etc, he went down to one-instrument -per-part, a performance principle that is struggling to gain universal favor still, in 2002.On the other hand, Menuhin's string players use just a tiny bit of vibrato (vibrato is utterly condemned by traditional authentic purists) to make the string sound a little elastic. It is not continuous 'Kreislerian' vibrato, but controlled, measured use of vibrato as an expressive device, which is being recognized among some members of the authentic persuasion as acceptable both in vocal performance and string performance of baroque music of certain types.The brass is clarion-clear and bright, the strings eloquent and refined, the woodwinds (Elaine Shaffer) agile and limpidly beautiful. (Of course, she uses a modern flute.) If it was just the Suites, I'd say: go for it. But you're getting more, so: go for it with moderate confidence. If you're determined to get authentic performances, I'd try Hogwood, Pinnock, Kuijken, etc.Archimedes"

EMI's Bach Bonanza.

John Austin | Kangaroo Ground, Australia | 08/03/2004

(4 out of 5 stars)

"I know of no CD issue that packs as much of the orchestral music of J S Bach into one budget-priced box as this issue. Active in and inspiring the performances of all but two of the works is Yehudi Menuhin. He directs these performances while playing either violin or viola. He also attracts eminent fellow instrumentalists to contribute as required, so that the roster reads like a Who's Who of EMI recording artists of the period.



And what is the period? The recordings were made between 1956 and 1973. Ears attuned to contemporary styles of Bach performance will hear things that are different here. Period instruments are not used (if you accept violas da gamba as not strictly "period"). Warmth and affection rather than authenticity and precision characterize performances. The engineering seems aimed at balancing Bach's contrapuntal textures so that everything can be heard, rather than capturing what occurs in actual performance. Accordingly, the harpsichord contributions are audibly prominent, and sometimes they have the capacity to swell and fade in ways that Wanda Landowska might even have thought excessive.



Remastering was done in the 1990s and this compilation was released in 2001.

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