Outil de traduction (Très approximatif)
Translator tool (Very approximate)
Reviewer:
David Vickers
Scholars
speculate that some or all of Bach’s extant orchestral suites originated many
years before their earliest surviving Leipzig sources. Peerless historical wind
specialists Zefiro put such questions aside and let musical sophistication do
the talking. There’s no room for the B minor Suite with flute (BWV1067) but the
three largest-scale suites (called ouvertures in the original sources)
are presented. In BWV1066 trio passages are played by oboists Alfredo Bernardini
and Paulo Grazzi and bassoonist Alberto Grazzi with unerring momentum and
nuanced deftness (eg the second Bourrée) – matched stroke for stroke by the
contoured strings and judicious harpsichord continuo. Frenchstyle dances lilt,
sway or scamper, with a keen attention to charismatic details (the pair of
Passepieds is an ideal compound of liveliness and refinement). Moreover, the
largest-scale music with trumpets, timpani and woodwinds is never merely
bellicose but always shaded intelligently: fulsome moments such as the Gigue
that concludes BWV1068 and the thrilling Ouverture that launches BWV1069 lack
nothing in richness but also have conversational transparency and dancelike ebb
and flow. More intimate moments are also judged perfectly, nowhere more so than
from the unison first violins’ cantabile sensitivity in a beguiling performance
of the famous Air in BWV1068.
Bernardini
‘reconstructs’ two ouverture-style movements based on the hypothesis that
several elaborate opening choruses of Leipzig sacred cantatas could have been
arranged from unknown lost orchestral pieces, and he takes inspiration from
Bach’s own adaptation of
the ouverture from BWV1069 for the beginning of Cantata No 110, Unser Mund
sei voll Lachens. Accordingly, the start of No 194, Höchsterwünschtes
Freudenfest, is rearranged into an orchestral piece for four-part reeds in
dialogue with strings, and the first chorus of No 119, Preise, Jerusalem, den
Herrn, is converted into a splendid ouverture featuring four
trumpets, timpani, two recorders, three oboes, bassoon and strings; Zefiro’s
radiant performances produce a convincing outcome to the experiment. It’s a nice
touch that this album is dedicated affectionately to the memory of pioneering
Baroque oboist and musicologist Bruce Haynes.
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