by Chia Han-Leon

When Bach writes in D minor, the whole universe stops to listen. Such is the majesty of his art; such is the magnificent nobility, the moving beauty of the Concerto in D minor for Two Violins, BWV 1043. In Harmonia Mundi's offering with violinists Andrew Manze and Rachel Podger (what a smashing combination), we are immediately given a high-speed account of the outer movements, hurtling with life and energy. Manze's bright and "rubbery" tone contrasts deliciously with Podger's dark and regal colours - Mars and Athena. She provides a sense of the music's (and I think Bach's) divine order, but in all the atmosphere is volatile in Manze's presence. They seem like two different spirits, Dionysian and Apollonian, playing to the same god, Bach. Amazing indeed are the virtuoso turns and the sensation of "spinning" in their performances (particularly Manze's).

Violin Concertos in A minor and E major, BWVs 1041-42 Concertos for Two Violins* in D minor, BWV 1043 and 1060 ANDREW MANZE violin & director Rachel Podger violin The Academy of Ancient Music HARMONIA MUNDI HMX 2907155 [56:41] budget-price, promotional reissue with 1999 catalogue. Also available at full-price on HMU 907155

By contrast, an orderly and aristocratic rendition is provided on Veritas, bringing out Bach's formal elegance and dignity. The playing of soloists Wallfisch and Bury is well-matched, emphasizing the coherence of the music. The tone is sweet and often mellow, qualities found in the cantabile reading of the Largo. Very unified and long-breathed, more flowingly beautiful, whereas the Manze/Podger reading has something more "tremblingly" beautiful.

But more than that, in this movement there is again a contrast between Manzian fantasy and Podger's lullaby. Manze makes me smile, Podger soothes me. After the 4th minute, their embellished lines are a wonder to behold, as lovingly crafted as they are delightfully surprising. Overall, a very beautiful, very satisfying reading.

Bach wrote the violin concerti during his short stay at the court of Prince Leopold of Cöthen as Kapellmeister, from 1717-1723. Fortunately for Bach, the Prince was an avid music-lover and supported an orchestra in his court (something I would love to do at home). Needless to say, these orchestral works (including the Harpsichord Concerti and the Orchestral Suites are nothing less than some of the most marvellous constructions in Baroque music. Bach admired the concertos of Vivaldi, evident in his ownership of some of his Italian contemporary's published scores which he also transcribed.

In the notes by Simon Heighes (Veritas), Bach's three main lessons from Vivaldi are nicely described: "how to organise a movement coherently by means of repeated orchestral sections (ritornelli) which appeared in a succession of related keys; how to write striking and memorable themes made up of short motifs, ideally suited to soloistic elaboration; and finally, in slow movements, the use of long breathed cantilena melodies underpinned by repeated bass ostinato figures." But just as Vivaldi had nurtured the concerto form from embryonic to the age of youth, Bach took things several steps further. The depth and orderly complexity with which the Violin Concerto in A minor, BWV 1041 dishes out solo and tutti, solo over and under tutti, interrupting each other with such amazing timing - is truly Baroque architecture in motion.

On Veritas, we have a straightforward (as far as period performance goes!) reading - very beautifully crafted, the Andante almost a study in instrumental tone. Wallfisch plays with silvery aluminium tone in the final movement, an energetic dance but again with a definite sense of Bachian order. Manze of course couldn't produce anything less than an individual reading - the mark of personality is more evident in his mercurial and much faster reading, especially in some of the fury of the final Allegro assai. He has a tendency to linger more, on phrases, trills and even a little bit of vibrato in long legato lines. It is never less than an interesting reading, but I think I somewhat prefer the abstractness (those beautiful lines...) and the mellower tone of Wallfisch's version. The essay in the Veritas disc explains how Bach breaks down the traditional barriers between soloist and accompanying orchestra: with the flamboyant individualism of Manze's performance and the unified cosmos of Wallfisch's, we have more than enough food for thought regarding this.

Right: Original full-priced issue. Violin Concertos in A minor and E major, BWVs 1041-42 Concerto for Two Violins in D minor, BWV 1043* Concerto for Three Violins in D major, BWV 1064 ELIZABETH WALLFISCH violin & director Alison Bury* · Pavlo Beznosiuk · Catherine Mackintosh violins Orchestra of the Age of Enlightenment VERITAS (Virgin Classics/EMI) VC7 59319-2 [62:46] full-price

Andrew Manze personally notes in the Harmonia Mundi sleeve that Bach uses a variety of forms in his finales. I must admit it didn't occur to me until now that the finale of BWV 1041 is a gigue! He calls the finale of BWV 1042 a "minimalist rondeau" in the way the tutti idea repeats in between the myriad forms of the solo passages.

Hmmmm, for the Harmonia Mundi recording of the Violin Concerto in E major, BWV 1042, there is in fact no indication in the booklet as to who is the soloist in the two solo concerti. Both Manze's and Podger's names appear in equal standing (that is, font size). I can hear from the tone that he is playing in BWV 1041, but it took me quite a while to decide that Manze was the amazing soloist in this simply splendid performance of BWV 1042's opening Allegro. (Even then I'm still not sure; tonewise it could pass off for Ms Podger; and having watched her in a recent English Concert concert, I can visualise her playing here). The soloist's phrases have infectious momentum, but it is in the final minute or so when the little hurricanes of ornamentation suddenly appear one after another, amazing the listener - one suddenly imagines Bach the flamboyant composer - unthinkable yet there it is!

Violin Concertos in A minor and E major, BWVs 1041-42 Concerto for Two Violins in D minor, BWV 1043* Concerto for Flute, Violin & Harpsichord in A minor, BWV 1044 Violin Concerto in D minor, BWV 1052 Violin Concerto in G minor, BWV 1056 Concerto for Violin and Oboe in C minor, BWV 1060 Concerto for Three Violins in D major, BWV 1064 ELIZABETH WALLFISCH violin & director Alison Bury* · Pavlo Beznosiuk · Catherine Mackintosh violins Orchestra of the Age of Enlightenment VERITASx2 VBD5 61558-2 [129:56] 2CDs for 1 mid-price (superbudget reissue, June 1999)

Wallfisch takes an altogether more lighthearted and joyous approach, seeming to marvel at the beauty of the music. She carefully (but not fussily) explores the lines - an admirable perspective of this music, one whose efforts also extend from the orchestral ripieno/ritornelli support. Satisfying too is this account, but different - you pick!

For Manze(?), the Adagio is, in similar vein, very intense in its sorrow. I might even say more intense than sorrowful. Wallfisch's reading comes across as the more lilting, because of the gorgeous instrumental tone of her group; and more human, because of her more traditional (as opposed to Manze[?]'s virtuoso) approach. She is aided also by her lighter and softer touch. Both give happy and dancey accounts of the final Allegro assai.

On the Veritas set (and reissue) is a cheerfully sunny and feminine rendition of the retro-transcribed Concerto for Three Violins in D major, BWV 1064, sparkling with youthful joy. The performers instantly bring out the Italian voice of the work, playing virtually as one. I take this opportunity to highlight the wonderfully blended yet distinctively articulated counterpoint support of the Orchestra of the Age of Enlightenment. Altogether a refreshing and virtuosic treatment of the concerto by the soloists - their skittering plunges and runs in the final movement are truly impressive.

Left: Unverified portrait of Bach (1712)
by Johann Ernst Rentsch.

Harmonia Mundi's coupling is the Concerto in D minor, BWV1060 for two violins - a rather rare retro-transcription. Collectors will be more familiar with the popular Violin and Oboe Concerto in either C minor or D minor. To be honest, I find two violins too much of a good thing, and I rather miss the mellow plaintive sound of the oboe, or the chinkling sweet melancholy of two harpsichords (in the double-harpsichord concerto version) in the beautiful Adagio. The Veritas x2 superbudget reissue includes the violin-oboe version, well-played and reviewed previously here.

Manze argues fairly for the case for two violins, but though he says that "the two are exquisitely matched" in the Adagio, that's not exactly what I hear. Ironically, I think it is the contrasting style and tone of his playing and Podger's that do not "match". Manze's shrill upper register doesn't quite fit in this tender aria - I think Wallfisch and her partner would be far better! The outer movements are skilfully done though, but again I feel that the First part is so dominant that it really feels like a solo violin concerto, whereas you could never mistake one for the other in the violin-and-oboe version.

The Veritas series of Bach concerti with Wallfisch and the OAE are some of the most enjoyable Bach records I own. If you do not own any of the original full-priced issues, now's your chance to get most of the violin concerto recordings for an incredibly small fraction of the original cost. The recent reissues from Virgin and Veritas are already infamous for its minimal notes, most annoying for works with a libretto, but in this case, it's not significant.

250 Years of J.S.Bach 1750 ~ 2000 There Is No Turning Bach™.

To Bach Is To Be Human The Motets The Magnificat The Brandenburg Concerti The Orchestral Suites The Harpsichord Concerti The Goldberg Variations

Chia Han-Leon recommends dressing up in the morning for work with a major-key Bach concerto!

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522: 17.7.1999 ©Chia Han-Leon

Readers' Comments

Oboe Concerti An inexpensive Naxos way to experience beautiful Bach.