BACH Brandenburg Concertos


Brandenburg Concertos
Gewandhausorchester Leipzig
Riccardo Chailly
Int. Release 26 Feb. 2016
Riccardo Chailly and Leipzig Gewandhaus Orchestra in Bach´s Brandenburg Concertos


CD 1: Bach: Brandenburg Concertos

Johann Sebastian Bach (1685 - 1750)
Brandenburg Concerto No. 1 in F Major, BWV 1046




Brandenburg Concerto No. 2 in F Major, BWV 1047



Brandenburg Concerto No. 3 in G Major, BWV 1048




Gewandhausorchester Leipzig, Riccardo Chailly

총 재생시간 43:16

CD 2: Bach: Brandenburg Concertos

Johann Sebastian Bach (1685 - 1750)
Brandenburg Concerto No. 4 in G Major, BWV 1049




Brandenburg Concerto No. 5 in D Major, BWV 1050




Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051



Gewandhausorchester Leipzig, Riccardo Chailly

총 재생시간 51:09

. . . these are fleet, enjoyable accounts, with virtuoso playing of the solo parts . . .

Chailly has no problems in balancing the orchestral strands and the rich quality of the strings, greater in number in this music than we have come to expect in recent years, is not allowed to overpower the winds. The bright reading of the First Concerto is rather fetching -- in particular I like the subtleties applied to the finale with its many-times returning Minuet. I was surprised to hear its second playing being given in a hushed manner but this is very effective . . . Admirable lightness informs Concerto 2 . . . successful balance is of the essence -- the Leipzig players seem to delight in presenting the rapidly varying timbres -- especially in this work's finale. An elegant unhurried opening movement in No.3 has the first example of post-Bach thinking when Chailly unexpectedly pulls back in order to gather together and emphasise the final statement of the theme . . . Chailly interprets the finale coolly while still achieving good detail within his multiple strings. Violin and two recorders are the protagonists in No.4 -- and they are provided with notably secure lateral placement and are separated in a realistic stereo spread. Solo violin does not over-impose and the continuo group adds admirable weight yet plays with clear articulation. No lingering, just clear-cut projection of the concertante group. The rapidly changing colouration in this concerto is achieved with subtlety, especially in the Andante, and again this applies equally to the imaginative continuo group. The highpoint of Concerto 5 is the exciting playing of Michael Schönheit in Bach's spectacular harpsichord cadenza near the close of the first movement . . . Chailly ensures that his fine orchestra supports his concertante group with diligent attention to where the melodic line lies -- be it solo or orchestral . . . [no. 6] Chailly ensures clarity of inner parts. There are memorable early recordings of the Brandenburg Concertos on modern instruments . . . [I am] much impressed by Riccardo Chailly's interpretations and the sensitive manner in which he uses a distinguished modern symphony orchestra to put them over.

There can be no question that these players are comfortable to be performing Bach on modem instruments -- and, for that alone, bravissimo -- combining an unselfconscious love of the tonal possibilities in their natural environment with the sophisticated and immersed sense of style, balance, scale and nuance one associates with a "period" ensemble . . . The best of this happy mélange is heard in a boisterous and suave Concerto No 1, which is ripe, warm and controlled . . . a fascinating [project].

. . . it's particularly interesting to find Riccardo Chailly applying period techniques -- lively tempos, light, off-string bowing, a handful of players -- to the modern instrument Gewandhausorchester. The results are captivating.

. . . outstanding playing from the Gewandhaus, and big-hearted warmth all around . . . Golden-toned brass and dancing woodwinds ideally complement the first-class soloists in the orchestra . . . Chailly -- not unlike Benjamin Britten on his own Decca set -- coaxes very beautiful sounds without drowning in them . . . these well-recorded and conducted performances successfully take us back in time.

In den straffen Tempi, der akzentuierten Phrasierung und sogar der vibratoarmen Tongebung hat sich das Orchester dem vorherrschenden Modestil der Alten Musik angenähert. Aber es klingt einfach besser: runder, weicher, strahlender, schlackenfreier, homogener -- und steckt so die alten Haudegen der period players, Gardiner und Egarr, locker in die Tasche. Der strahlende, dunkle Klang ist in Leipzig hausgemacht, eine Sache der Tradition. Den dreisten kleinen Wind von italianità aber, der, zum Beispiel, in den drallen Pralltrillern der Flöten steckt, den hat sicher Riccardo Chailly mit in diese Ehe gebracht.

Diese Aufnahme kommt mit einer wunderbaren Selbstverständlichkeit daher. Die Tempi schwingen natürlich, die Ecksätze sind geprägt von einem forschen Brio, von feurigem Elan, der nie um seiner selbst willen auf die Spitze getrieben wird. Und umgekehrt werden die langsamen Sätze nicht in ein starres Korsett gezwängt, sondern bewegen sich auf denkbar natürliche Weise. Chaillys Bach-Spiel ist ein gelungenes Beispiel dafür, dass Orchester mit herkömmlichen Instrumenten auch in der Barockmusik durchaus noch ein gewichtiges Wort mitzureden haben. Wann beispielsweise hat man das Presto aus dem G-Dur-Konzert so frei, so beschwingt, so harmonisch aufeinander abgestimmt gehört? Alte-Musik-Ensembles, aufgepasst! Von dieser Art des Bach-Spiels lässt sich einiges abschauen. Chailly hat es verstanden, mit dem Gewandhausorchester einen transparenten, lebendigen Barock-Ton zu entwickeln.

In kleinerer Besetzung spielen die Gewandhausmusiker etwas zurückgenommen in der Klangentfaltung, aber nicht im musikantischen Engagement. Insbesondere die zweite CD mit den letzten drei Konzerten überrascht dabei mit einer erfrischend klaren Sicht auf die barocke Partitur. Da muss nichts hörbar entstaubt oder mit dem Eiskratzer freigelegt werden -- da atmet Bachs Musik ganz ruhig und frei.