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Reviewer: Nalen Anthoni
Unfettered personal feelings burst forth; calm mingling with turbulence and harmonic disruption leap off the page at every turn. Sakari Oramo appears not to be entirely sure. Bach categorises three allegro first movements (Nos 1, 2 and 6) as Allegro di molto, one (No 3) as Allegro assai, yet Oramo doesn’t fully honour their distinctions; speed, accentuation and articulation veer towards equalising their individual characters. Conversely, in the slow movements of Nos 1 and 2 he is too fast for Poco adagio; and though his phrasing is good, the spirit of ‘sensitive style’ (empfindsamer Stil) is in scarce supply. All too often instrumental textures lack transparency, and rhythm isn’t as fleet of foot as it might be. Both factors inhibit the motive force of many a movement, though not in No 5. Oramo is on his mettle here, earlier flaws not repeated, the slowmovement Larghetto conducted with profound feeling.
The virtue of this disc lies in the skilled musicians of the OCO, who probably would have given Oramo a lot more if only he had asked. Trevor Pinnock’s recording, still remarkable after 36 years, is better at reflecting Bach’s unorthodoxy. But it’s Wolfram Christ who gets closest to the qualities enshrined in this radical music, and enhances its prescience by using a fortepiano – in Bach’s day fast replacing the harpsichord – for the written-out keyboard contribution, enterprisingly realised by Sebastian Küchler-Blessing. Christ’s violins are separated too, a positive gain in the many antiphonal exchanges.
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