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Reviewer: Lindsay Kemp
(Excerpt)
The
Neumeyer Consort have made only a handful of recordings, and this must count as
their strongest statement of intent so far. They do a job decent enough for
anyone coming new to these concertos to recognise them for the miracles they
are, but do not really offer enough to compete with (to mention just some of the
fine recordings of recent years) the English Baroque Soloists, the Dunedin
Consort or Florilegium. Non-playing conductor Felix Koch clearly has a sense for
stylish gestural articulation but seems unable to use it to inspire his
performers as one might wish. The heavy leans on to the second note of the
long-short-short oboe figures in the second movement of Concerto No 1 surely
have the right idea but actually come across as laboured, and too often
elsewhere there is an unsettling feeling of sluggishness – in the third movement
of No 1, for instance, or the first movement of No 4. Strangely, it is not that
any of the speeds seems slow in itself (indeed, the first movement of No 6 is
unpleasantly fast); rather it feels as if the orchestra is not quite up with the
game, not acting as a galvanised unit. Neither are they helped by a recording
that lacks both depth and definition, leaving the horns too muffled in No 1, the
recorders too prominent in No 4.
