Texte paru dans: / Appeared in:
Warner 21732399543
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Nemanja Radulovic´ is a captivating soloist, and his razor-sharp opening to the final movement of the Concerto in D minor, BWV1052R, is unexpectedly and fantastically fierce. Sometimes he ventures too far for my liking. Take, for instance, the strangely aggressive playing after the 1'42" mark – though when this soon spirals into virtuosic semiquavers, I’m inclined to let it pass (there are also pianissimos that most soloists wouldn’t dare to explore). His extraordinary facility is on full display in the concerto’s opening movement: the thrill-seeking tempo makes the filigree passagework incredibly impressive.
Unfortunately, many of the performances do not sustain their exciting impact, but rather develop a sense of hurriedness that is unenjoyable. In the third movement of the Concerto for oboe and violin, BWV1060R, there is not enough space for this listener to feel the breath of the music, let alone for the very instrumentalists on the disc themselves to breathe. This is not a case of a track being a lick or two too fast. At the hands of a tyrannical metronome, the effect of staying at exactly the same tempo is sometimes one of breathless rushing.
Luckily, it’s a different story with the opening movement of the Concerto in E, BWV1042. Radulovic´ chooses an extremely satisfying tempo. But amid the E major sunshine, I would love more light and shade; clearer and more distinct articulation would go a long way to create this. The final movement, though understandably rumbustious, lacks poise.
For my taste, there is no need for the ‘Erbarme dich’. While the Prelude, originally for cello but performed here by Radulovic´ on the viola, is an enjoyable interlude, this imploring movement from the St Matthew Passion takes the album too close to a ‘Best of Bach’. Its devotional quality is awkward against the overtly secular dancing rhythms of the concertos, and the balance between solo violin and countertenor (an intriguing cameo from Philippe Jaroussky) is confusing. |
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