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Reviewer:
Richard Wigmore
It’s odd that Reinhard Goebel chose to open this birthday tribute to CPE Bach with a trifling G major Sinfonia that may or may not be authentic. If it really is by CPE, it shows him locked on galant autopilot. The other works, all from the 1750s, are a different matter. Each of the slow movements tap CPE’s characteristic vein of brooding Empfindsamkeit, while the first movement of the E flat Sinfonia trades on disconcerting contrasts between explosiveness and fragility – just the kind of music that gave CPE a reputation for ‘bizarrerie’ in his lifetime.
Recorded before a digitally silenced audience in Berlin’s Philharmonie in December 2014, Goebel and his band (a period-instrument offshoot of the Berlin Philharmonic) sound closely attuned to the music’s idiosyncratic rhetoric. The outer movements of the E flat Sinfonia, braying horns to the fore, are splendidly combustible, and the Larghetto makes its expressive points without undue dawdling. The concerto soloists, both BPO principals, are polished and unfailingly mellifluous. Both specialise in elegance and precision at speed. In Bruno Delepelaire’s hands the ungainly-looking figuration in the Cello Concerto’s finale sounds airily graceful, while Jacques Zoon spars impishly with the strings in the effervescent finale of the Flute Concerto.
Other performers, notably Anner
Bylsma in the Cello Concerto (Virgin) and Rachel Brown in the Flute Concerto
(Hyperion), have brought a more troubled, personal expressiveness to the slow
movements. Choosing a far more flowing tempo than the rhapsodically
introspective Brown, Zoon seems almost frisky by comparison. Timings – Zoon’s
6'13" to Brown’s 8'44" – do not mislead. But his cooler, sensitively nuanced
playing has its own validity, as does Delepelaire’s tonal purity and eloquent,
long-spanned phrasing in the Adagio of the Cello Concerto. Goebel complements
his spirited direction with an engaging if slightly hyperbolic booklet essay on
JS Bach’s most gifted son, though for specific information on the music you’ll
have to look elsewhere. |
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