For even more Bach reviews, check out the Inkvault!
Johann
Sebastian Bach Violin Concertos
(58:47)BWV 1041, 1042, 1043 Sonata No.1 in G minor for Violin Solo
BWV 1001
with Scott St. John
New York Bach Ensemble
Ancalagon AR131
by
Derek Lim
In a
world where artistes are judged by the image they portray,
London-born Lara St. John is somewhat of an oddity. Her first album
(Well-Tempered Productions WTP 5180, right) caused consternation among the
more conservative, featuring her in a, shall we say, revealing
outfit, posing nude while holding her violin across her chest. Long,
heated philosophical threads about whether she should have allowed
herself to be marketed in such a manner kept many busy on
the UseNet discussion groups.
But how little that matters! Lara St. John may portray herself
however she may; a blind man listening to her recordings could not
fail to recognize the enormous talent, the passion and the drive in
them. In the Bach concertos, her playing conveys abandonment and
ardency, alternately extrovert (in the outer movements) and
introspective (in the middle movements), all in excellent style,
perfect intonation and superb voicing and understanding of the
musical structure. Her style is primarily Classical, but with an
unmistakable personality behind the notes. Her technique is to die
for.
It's
difficult not to gush over this recording -- listening to this CD
gave me easily the most pleasure I've had listening to music for a
long while -- it fairly bursts with joy! It made me want to dance,
and that's probably the best compliment I can pay it. You won't find the
profundity of Menuhin's middle movements, perhaps -- not many have,
but her HIP-like approach to the outer movements - fast, but without
sacrificing articulation, conveys so much happiness in the sheer joy
of playing. The interpretations found on this album are up there
with the very best, and that includes Andrew Manze. In the double
concerto, her brother Scott St. John (picture, below),
professor at the University of Toronto, proves equally matched (how
does such talent get passed on by?!) and the two deliver a stunning
performance -- always exciting and musical but never merely
virtuosic. The Largo is particularly HIP-influenced -- walking pace
and full of articulation even though it's a "slow" movement. The New
York Bach Ensemble provides stylish, dancing accompaniment.
The
G-minor Sonata, that beautiful work that opens the 6 solo works,
receives a cultivated reading that still manages to transcend the
didactic approach that mars the interpretations of so many "serious"
artistes. An attractive sense of propulsion with minimal change in
tempo marks the Fuga and voicing here is very confidently
brought out. One thing I like appreciate about St. John is her
ability to come out with different ways of phrasing something while
making it sound completely natural -- no easy feat. The Siciliana
and Presto are equally impressive. Her variety in touch and
strong control of her bow arm is also very attractive.
It is in a sense somewhat of a pity that the conservatives among
the classical music community are likely to give this disc a miss,
as Lara St. John's playing is truly in a class of its own. I think
all but the most hardened of skeptics will find plenty to enjoy in these
readings. Give yourself a chance and you will enjoy it too.
Recording quality is up close but not overwhelmingly so, with enough
reverberation that Bach's music can live and breathe. Highest
recommendations.
Lara St. John plays a Guadgnini. More information can be found on
her website : www.larastjohn.com
If you wish to
Add a Comment to this article, please email your comments to classical@inkpot.com.
Johann
Sebastian Bach
In a
world where artistes are judged by the image they portray,
London-born Lara St. John is somewhat of an oddity. Her first album
(Well-Tempered Productions WTP 5180, right) caused consternation among the
more conservative, featuring her in a, shall we say, revealing
outfit, posing nude while holding her violin across her chest. Long,
heated philosophical threads about whether she should have allowed
herself to be marketed in such a manner kept many busy on
the UseNet discussion groups.
It's
difficult not to gush over this recording -- listening to this CD
gave me easily the most pleasure I've had listening to music for a
long while -- it fairly bursts with joy! It made me want to dance,
and that's probably the best compliment I can pay it. You won't find the
profundity of Menuhin's middle movements, perhaps -- not many have,
but her HIP-like approach to the outer movements - fast, but without
sacrificing articulation, conveys so much happiness in the sheer joy
of playing. The interpretations found on this album are up there
with the very best, and that includes Andrew Manze. In the double
concerto, her brother Scott St. John (picture, below),
professor at the University of Toronto, proves equally matched (how
does such talent get passed on by?!) and the two deliver a stunning
performance -- always exciting and musical but never merely
virtuosic. The Largo is particularly HIP-influenced -- walking pace
and full of articulation even though it's a "slow" movement. The New
York Bach Ensemble provides stylish, dancing accompaniment.
The
G-minor Sonata, that beautiful work that opens the 6 solo works,
receives a cultivated reading that still manages to transcend the
didactic approach that mars the interpretations of so many "serious"
artistes. An attractive sense of propulsion with minimal change in
tempo marks the Fuga and voicing here is very confidently
brought out. One thing I like appreciate about St. John is her
ability to come out with different ways of phrasing something while
making it sound completely natural -- no easy feat. The Siciliana
and Presto are equally impressive. Her variety in touch and
strong control of her bow arm is also very attractive.