Texte paru dans: / Appeared in: |
|
|
Outil de traduction ~ (Très approximatif) |
|
|
Reviewer: James
Forrest These thematically rich works were written by Bach in his 60th year, on commission from Baron Gottfried von Swieten. The Baron, nearly two decades Bach’s junior, later provided some financial support to Mozart, Haydn, and Beethoven. The annotator for this splendid Hybrid SACD release (the ensemble’s first chair cellist) suggests that von Swieten’s interest in north German music was a factor in his subventing the Hamburg-based composer. In any case the set is known as the Hamburger Sinfonien, and so identified by ALBA. The annotator (Lauri Pulakka) also suggests that unlike many such commissions, the Baron gave Bach free rein in his compositional efforts—asking only for sophisticated compositions which presented some technical difficulty in their execution. Bach responded with six works identical in structure (each of three movements, fast-slow-fast), similar in mood (generally cheerful), and similar in length: The Fourth Sinfonia is a hair under 12 minutes and the Sixth just 3 seconds under 9 minutes. Although one cannot imagine they were performed as a set (but, who knows?) they can be heard in barely over an hour’s listening time. Unlike the works catalogued as Wq 183, which are scored for strings and winds, these are for strings alone. Who would listen at a sitting, you might ask? In fact, within these modestly scaled works, the brilliant second son has crafted a half-dozen near masterpieces. They are inventive, melodic, and so rich in their harmonic development as to cause one, at least temporarily, to agree with those who have said C. P. E. is “the most adventurous composer harmonically before Schubert.” Although in my listening prior to writing these comments I have listened several times to one or the other sinfonia, I have twice, for sheer pleasure, listened to the disc straight through with interest and delight. The first numbered is in G Major and fascinates throughout, the first movement arresting in both rhythm and melody, a lovely slow movement followed by a particularly bracing finale. In the second work, I find the first movement a bit less individualistic, but the poco adagio is gorgeous and the concluding presto even more fun than in the preceding work. My two favorites are the Fourth and Fifth sinfonias, the two longest, and the Fifth, the only one in minor key. The Fourth, in A Major has as much richness and dark coloration as the Fifth, however, and both reach considerable emotional depth. The poco andante movement of the Sixth Sinfonia is in a similar vein. All of the slow movements are in something of a free fantasia, almost arioso, style, but there is great variety among them. These works have been most readily available to U.S. buyers in a fine Naxos recording issued in 1997; Christian Benda conducts the Capella Istropolitana with understanding and style. No one need discard that recording. However, I should say this Alba release takes priority in choice now. Sakari Oramo has been chief of this Finnish group for only two years, but has, of course, made a huge mark (and career) throughout Scandinavia as a fine conductor, brilliant interpreter of the music of Carl Nielsen, and chair of the respected Malko Conducting Competition. In leading this chamber orchestra of 19 players, gives of his talents to a repertory different from what I have known to be his historic norm. He also may have provided the keyboard player for the group, since Anna-Maaria Oramo (his sister) is listed on the roster for harpsichord and cembalo. These works, however, offer little—if any—opportunity for continuo. They are modern sounding, as modern as Haydn (or more so), particularly given the incisive, vigorous, spot-on string playing heard in these recorded performances. This is a crack ensemble, a professional orchestra for just over a quarter-century but actually dating to 1972. As recorded in what seems to be an acoustically excellent hall in the coastal town of Kokkola (about three-quarters of the distance to the north end of the Gulf of Bothnia), the splendid sonic properties of this SACD present the music and the playing of it in the best possible framework. This ensemble offers not just precision in its playing, but also genuine tonal beauty. The conductor not only keeps things going, but seems at one with his players in shaping the music with both sensitivity and force when called for. This release calls for a strong recommendation. | |
|
|
|
|
Cliquez l'un ou l'autre
bouton pour découvrir bien d'autres critiques de CD |
|
/6417513103748.jpg)
