专辑英文名: J.S.Bach - Violin Concertos
艺术家: Freiburger Barockorchester
版本: [24bits 96KHz]
J.S.巴哈：小提琴协奏曲 JS Bach: Violin Concertos BWV1041-1043
商品条码 : 3149020214527
商品编号 : HMC902145
演奏者 : 弗莱堡巴洛克古乐团 Freiburger Barockorchester - 查看所有专辑
作曲家 : 巴哈 Bach - 查看所有专辑
专辑名称 : 巴哈：小提琴协奏曲
Bach: Violin Concertos
音乐类型 : 古典音乐 [CD 协奏曲]
发行公司/日期 : 上扬 2013/4/9
制作公司 : harmonia mundi
内含片数 : 1
小提琴协奏辑J.S.Bach - Violin Concertos - Freiburger Barockorchester
表演者: Freiburger Barockorchester / Gottfried von der Goltz / Petra Müllejans / Anne Katharina Schreiber
出版者: Harmonia Mundi France
Probably written for the virtuoso Kapelle at Cöthen (BWV1042) or the concerts of the Leipzig Collegium Musicum which the composer often directed himself from the violin, Bach’s three well-known violin concertos are joined here by the splendid Concerto for three violins BWV1064, reconstructed from the surviving version for three harpsichords. A dazzling firework display under the bows of the matchless violinists of the Freiburger Barockorchester.
Freiburger Barockorchester celebrated its 25th anniversary in 2012. A glance at the ensemble’s schedule shows a diverse repertoire played at leading concert halls and opera houses, ranging from the Baroque to the contemporary and from Freiburg to the Far East.
The Freiburgers’ artistic credo, however, remains unchanged and involves assigning demanding solo concertos to players from the orchestra’s own ranks. Cultivated, yet at the same time exciting, ensemble playing has thus become the orchestra’s international trademark.
The FBO collaborates with leading artists such as René Jacobs, Andreas Staier and Thomas Quasthoff and enjoys a close cooperation with harmonia mundi France. The artistic success of this musical partnership has been demonstrated in numerous recordings which have won awards including Edison, Gramophone, ECHO Klassik and a Classical Brit Award.
Under the artistic directorship of its two Konzertmeisters Gottfried von der Goltz and Petra Müllejans, and under the baton of selected conductors, the FBO presents around 100 performances per year in a variety of formations from chamber to opera orchestra.
Release Date March 4, 2013
Recording Date April, 2012
AllMusic Review by James Manheim [-]
Recordings of Bach's violin concertos are not in short supply, but this one, nicely recorded at a small hall in the home city of the Freiburg Baroque Orchestra, is unusually satisfying. It does not exactly break new ground, but it improves on several existing ideas and puts them together into a nifty package. First of all is the program itself. The Freiburgers and their leader/violinists, Petra Müllejans and Gottfried von der Goltz (joined here by Anna-Katharina Schreiber), offer by way of conclusion the Concerto for three violins and orchestra, BWV 1064R, a lost work reconstructed from a later version for harpsichord. This isn't terribly often recorded, and it makes a rousing finale to the lively readings that have come before. The soloists have a distinctive ensemble feel, seeming by way of numerous small details of phrasing to react to one another and to the orchestra with uncommon individuality. The orchestra itself plays period instruments, and it has a nice combination of gutsiness (so to speak) and sheen. Harmonia Mundi's engineering at Freiburg's Paulussaal captures all this in faithful detail, adding one more item to a long list of reasons to choose this release
Performer: Petra Mullejans, Gottfried von der Goltz, Anne Katharina Schreiber
Orchestra: Freiburger Barockorchester
Conductor: Petra Mullejans, Gottfried von der Goltz
Composer: Johann Sebastian Bach
Audio CD (April 9, 2013)
Number of Discs: 1
Label: Harmonia Mundi
This disc is a delight, an aural and musical treat, and a riposte to anyone who may think we already have enough recordings of the Bach concertos. It is beautifully played, stylishly directed and captured in recorded sound of wholesome, natural beauty. It is that sound that provides the disc’s first great pleasure. The impression the listener gets is of being right at the heart of the performance, close up to the instruments while allowing them sufficient room to breathe. The balance is also extremely well captured, making the soloists partners with the orchestra rather than combatants. When the double concerto opens the tutti the sound is warm and rich while open enough to remain transparent. When the soloists enter they emerge from the texture, becoming first among equals rather than grandstanders. The to and fro between orchestra and soloists is made even greater by the fact that the soloists direct the orchestra, thus unifying the performances with stylish wholeness. This partnership is so close that, at times in the A minor concerto it feels as though you are listening to a double concerto here too, so warm is the interplay between the soloist and the orchestra, even down to the individual violinists in the band.
This also helps the tempo selections. First movements are brisk without being wilful, but the slow movements get plenty of room to breathe too. The sublime Largo of the Double Concerto, for example, is given plenty of space to unfold organically with never a hint of rushing or of taking too long. The tempo, like so much else on this disc, just feels completely right, reminding us that this orchestra fosters relationships with soloists and conductors as complementary individuals, doing everything by agreement and accord, something of which Bach himself would doubtless have approved.
There is great beauty to their sound, too. Under some directors I have found the Freiburg Baroque sound to be rather abrasive and unlovely - not here. Instead there is polish to the finished sound without ever sounding manufactured, and I found myself completely taken in.
There is a joyous buoyancy to the E major concerto, the first movement almost bouncing along in its path, while the finale grows into each phrase so as to lift the music from one level to the next. This is partly due to von der Goltz’s organic choice of tempi. Mülljeans brings the same intelligence to the pacing of the A minor concerto, particularly the slow movement which treads the fine line between elegance and liveliness. The finale then swings with all the vigour of a jig, making this a completely satisfying version of the concerto.
The triple concerto is a reconstruction from Bach’s C major for three harpsichords BWV 1064, but in many ways it highlights all the disc’s virtues and sets the seal on it brilliantly. The interplay between soloists and orchestra is even closer here, and at times in the outer movements it is difficult to tell whether it is a soloist or an orchestral violin playing. That is a virtue rather than a problem and it stands as testament to the fraternal music making both of the Freiburg Baroque and Bach’s own concerto-style. The slow movement, by contrast, interweaves the lines of the three violins over a gently ambling continuo line, constructing a peaceful interlude between the busy outer sections.
All told, then, this is a near ideal version of the Bach concertos for anyone who values partnership and cooperation over grandstanding and attention-grabbing. Put it alongside other great period performers like Pinnock, Podger and Koopman. Enjoy it as a worthy complement to classics like Grumiaux, Perlman and Oistrakh.
Masterwork Index: Bach violin concertos
JS Bach: Brandenburg Concertos—Freiburger Barockorchester
by Roy Harris on August 15, 2014 · 3 comments
in Classical Recordings
I was listening to a recording of Bach’s Violin Concerto in A Minor, BWV 1041, on WQXR, a public radio station in Manhattan. I was impressed by the beauty of tone of the Baroque violin, played by Petra Mullejans, a concert master of the Freiburger Barockorchester. Her command of the violin was captivating. I requested the CD from Harmonia Mundi. While on the Harmonia Mundi website, I noticed the aforementioned ensemble had issued many recordings, one of which is Bach’s Brandenburg Concertos, released in March of 2014. I requested this set of CDs, too.
Prior to writing this review I researched Baroque performance characteristics. I discovered there are differences between English, French, Italian and German Baroque styles.
The score of the Brandenburgs has no indications as to dynamics. I am quite familiar with this composition and, therefore, did not expect to experience any significant dynamic contrasts. I was wrong. As I began my audition of this 2 CD set, I first listened to the first concerto. Somewhere during the first movement, I discerned an increase in loudness. I grabbed my Radio Shack SPL meter, set it at 70 DB, and measured a swing of over 20 DB, i.e., from 60 DB to more than 80 DB. I also noted changes in micro dynamics, as I heard variations in loudness from a violin and a trumpet.
Soundstage was always very wide, spanning the entire wall behind my speakers, with precise instrument location. I could hear all instruments distinctly, even as some were playing louder than others, as well as noting foreground and background relationships, between the concertino and the ripieno. In addition, as a consequence of the high level of resolution and instrumental separation, I heard the articulation of the double bass, as well as greater bass presence.The effect was to add warmth and fullness to the sound of the ensemble.
The concertino is a group of instruments, which have solo parts within each concerto. One hears them in the foreground, while the rest of the ensemble (the ripieno) acts as accompanying instruments in the background.
Considering the size of the ensemble—no more than about 20 musicians playing per concerto, I did not expect to observe much depth. Where depth was noticeable was during the second movement of the fourth concerto.
Perhaps the most notable character of the sound, which in my opinion qualifies it as an “audiophile” recording, was the combination of extremely high levels of resolution, in conjunction with accurate timbre and a full-bodied instrument perspective. In this respect, this recording is one of a handful in my experience which can present the fullness of a baroque trumpet and the natural, but somewhat thin sound of a Baroque violin. The Baroque violins emphasized string tone relative to the sound of the vibrating wood body. Light pressure on the bow did not cause much vibration of the wood body.
The effect of the naturalness of instrumental timbre with the revelation of detail of articulation and intonation of all instruments, created the illusion that one was listening to the ensemble fairly close to the musicians at the recording venue. I will add, that on this occasion, my favorite instrument, the harpsichord was not masked or buried by the sound of other instruments—kudos to the recording engineer.
Frequency response was always balanced, and I could not detect any flaws of a sonic nature.
The Freiburger Barockorchester’s performance followed most of the protocols of standard German Baroque style. The ensemble was precise and cohesive avoiding the slurring of notes.
The Baroque violinists applied light pressure to the strings, creating a staccato effect, throughout most of the concertos. While there were some instances of legato, I observed them mainly during the playing of the fourth concerto.
The melodic line of each concerto was very clear and transparent, a result of tight ensemble playing and superior sound quality of the recording, and there were no abrupt changes in tempo.
The solos in each concerto were executed with a high degree of skill and virtuosity, especially at faster tempos. It is a credit to the professionalism of the ensemble to play difficult passages, while preserving the melodic line, maintaining constancy of rhythm and compsure, and avoiding errors, especially at a fast pace.
Compared to other versions of the Brandenburg Concertos, ornamentation was less frequent, shorter in duration more subtle, and less ostentatious. Violins, recorders and the harpsichord were the instruments which usually exhibited ornamentation.
Tempos within each movement rarely varied, except during the third movement of the fourth concerto, resulting in a continuous rhythmic pulse.
Tempos were slightly faster than usual. I compared timings of each concerto between The Freiburger’s version and those of other versions. I discovered that on average, The Freiburger Barockorchester was one minute faster on each concerto. The increased speed created a bracing and spirited feeling and was most stimulating, but might require careful attention from a listener, unfamiliar with these concertos, to observe subtle details and ornamentation effects. I had no difficulty following all aspects of the performance, in spite of the faster tempos.
After listening to all six concertos, I had the impression that the performers were restraining themselves, avoiding dazzling virtuosity, pyrotechnics, or dramatic displays of technique (unless scored), to avoid distracting the listener and keeping the attention on the melodic content of the music. It is also possible that their stylistic approach was based upon their artistic vision of how the music should be performed.
There was one occasion where an instrumentalist displayed excellent technique and virtuousity, especially playing at a fast tempo. I am of course referring to the cadenza during the first movement of the fifth concerto. Playing so fast, the harpsichordist demonstrated his fleet and accurate fingers during a brilliantly played solo, which was first improvised by Bach and then scored.