Customer Reviews

Bach: Brandenburg Concertos

5 star:		(4)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

The first thing one notices with this set is the cover illustration, a photo of a magnificent fourteen-point stag looking out a window while walking in what looks like a deserted multistory concrete parking garage. I have no idea how it is supposed to relate to the music but it certainly is a striking image.

The next thing one notices, and this is more important, is that the musicians -- one to a part in the ripieno group -- are swinging the music in a loose and somehow very Italianate manner. This is fitting, of course, considering that the concerto grosso was invented in Italy by the likes of Corelli and Vivaldi, whose music Bach knew (and copied) very well. One tends to think of the Brandenburgs as very German, but indeed they have more than a little Italian influence in addition to their Teutonic contrapuntal mastery. And all these performances are first-rate. There are jillions of recordings of the Brandenburgs, many of them excellent, but Rinaldo Alessandrini and Concerto Italiano have something rather new to say about them in that they bring that Italian joie de vivre to their traversal. The woodwinds are fruity and a little raw, the strings have suavity and lively phrasing. Of course, the six Brandenburgs feature all manner of solo instruments and there is not a weak soloist amongst them. I particularly liked the sound of the two recorders (designated 'fiauti d'echo' in the Italian headnote) in Concerto No. 4; they are complemented by the wonderful solo violinist, Antonio de Secondi, in that concerto. I also liked the corni di caccia in Concerto No. 1, and the marvelous harpsichord solos, done by Alessandrini (a real virtuoso) in the grandfather of all keyboard concerti, the Concerto No. 5. The dark mahogany tone of the violin-less No. 6 is impressive. The virtuosity of the trumpet soloist in No. 2 (Gabriele Cassone) takes one's breath away with its élan and brilliance. All in all these are marvelous performances worthy of shelf space with all those other terrific Brandenburgs; my own favorites include the Trevor Pinnock/English Concerto, the second set by Harnoncourt/Concentus Musicus, and Jeanne Lamon/Tafelmusik.

[Note: The following paragraph is about what must have been an earlier edition of this set. When I submitted this review that was what was listed here. In the newer version, there is no DVD.] There is a bonus DVD (making three discs in all - 2 CDs, 1 DVD), filmed by Philippe Béziat, that shows Alessandrini and Concerto Italiano rehearsing (and featuring long uninterrupted chunks of the music) as well as a lengthy conversation with Alessandrini concerning his thoughts on the Brandenburgs: a worthy addition and quite informative, as are Alessandrini's extensive notes in the booklet.

This set deserves a place in anyone's library.

Scott Morrison

Rinaldo Alessandrini and Concerto Italiano offer one of the most exhilarating performances of the much recorded and much performed Bach Brandenburg Concerti in the available repertoire today. The zest, warmth and easy tenderness these works convey has rarely sounded so fresh and well played. Each of the 'solo instruments' are superb and the recorded sound is so clear that it begs credibility that the listener is not in the hall with the Concerto Italiano.

While there are numerous recordings, both in the archives and in the seemingly yearly new releases, this 2 CD set is, for this listener, the most rewarding. And for those who like to get the feel of the backstage machinations of just how music flows from the page to the CD there is a DVD that is interesting to see once, but in no way is it as important an incentive to buying this set as the performances themselves. Highly Recommended - even it you have multiple other recordings of this timelessly delightful music. Grady Harp, February 06

For many reasons, Bach's Brandenburg Concertos capture the public's imagination like very few of his other orchestral/chamber works. Due to the vast amount of distinguished recordings available, no performer or performing group is to take it lightly when walking into the recording studio with these works.(*) The question they all have to ask themselves is: "Do I have anything new to say, without resorting to shock and awe?"

Here Alessandrini and Concerto Italiano give us a revelatory performance without any quirks. The previous reviewers have eloquently lauded this performance in various ways, but IMHO there are still a few crucial points missing in the earlier reviews.

The most important aspect of this recording is, for me, the clarity of the texture: Everything (the pedaling bass, the exchanging parts, the canonic imitation... everything!) is lucidly presented. In fact, a well-trained musician should be able to take the music down from this recording. Take Concerto No.3, for example, where only strings and basso continuo are used. Many recordings tend to be murky, and I had hard time telling which instrument is "in" and which is not. Not here! And this is not simply the matter of one-voice-per-part, or utilizing the period instruments. The very good performance by Freiburger Barockorchester (DVD), for example, falls slightly short of this test. It is, among others, a combination of phrasing, dynamics, rhythm, instrumental colors and balance. This brings us to the next point.

The second feature is the supple rhythms and dynamics this Italian group brings to these works: the Italianate flair, for lack of better description. They maintain the energy of the music without resorting to the "down-beat-driven propelment." Rather, the supple and fluid phrasing and rhythmic nuance are used to keep the music "buoyant." The result is absolutely absorbing.

Thirdly, the liner note by Alessandrini himself is fascinating and insightful. There he discusses the style, instrumentation, structure, and character of each piece. Alessandrini's notes have never been less than excellent, but here he sets an even higher bar! For example, he disputes the "common wisdom" of the French character in the first concerto, discusses the difficulty of balancing a recorder and a trumpet in the second, and explains his ideas of the famous two chords (G Major - a minor) at the end of the first movement of the third concerto. It is full of insight. A must-read!

Fourthly, Alessandrini's virtuosic harpsichord performance is absolutely superb and was also highly praised in Mr. Morrison's review. The brilliant cadenza in the Fifth Concerto is a must-listen. (A bonus track of alternative cadenza is also offered.)

Finally, the recorded sound is truly remarkable and adds greatly to the listening pleasure.

No matter how many recordings you already have, you will NEED to hear this performance if you enjoy the Brandenburgs. I regret it has taken me so long to hear this recording. Don't repeat my mistake!(**)

My highest recommendation.

(Note: A filler of the Sinfonia movement from Cantata BWV 174 is offered at the end of the first disc.)

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(*) For example, Gardiner waited until recently to announce his first release of these concertos by his own label Soli Deo Gloria.

(**) This set originally comes with a bonus DVD by Beziat. If any reader knows how to get hold of it, or to view it online, please kindly let me know in the Comment below.

I have a healthy collection of the Brandenburgs, which stared with Pinnock and ended with Egarr. This is a good collection. I was a lucky one that got the DVD and it gave me greater respect for the musicians and their thinking about the performance.

I like the horns. They were rustic, loud instruments, and this isn't the most wild use of them in Bach. Go listen to La Stravaganza Hamburg on Virgin, or Antonini with iGA.

This is a nice collection for reasons already articulated, and because nothing "sticks out." Every concerto is given equal treatment.

These recordings received the highest rating from Grammophone and a rare Gem designation. It also received the highest rating and a golden key designation from Penguin Guide. Please disregard the one-star review from the person who thought she was ordering a product with a DVD.

I was impressed with the virtuosity and the vibrancy of the recordings. The performances are spirited and a departure from the traditional versions. It comes alive. The sixth, first and fifth concertos especially benefits from this treatment. For seasoned Brandenburg Concerto classical music listeners, the boldness can be annoying. The playing is fast -- maybe too fast.

I prefer the "standard" recordings of the Brandenburg Concertos by J. S. Bach: Brandenburg Concertos and Orchestral Suites by Sir Neville Marriner and St. Martin in the Fields. Indeed, I consider that Brandenburg Concertos collection by Marriner the benchmark collection for the money and recommend that set as a first purchase, especially for the masterpiece recordings of the fourth and second, and then the collection by Alessandrini to be a great second set.

This 2-CD Naive set, released in 2005, has won a lot of praise, and it certainly deserves it. Here we have Rinaldo Alessandrini leading his Concerto Italiano ensemble in a period instrument performance of J.S. Bach's venerable Brandenburg Concertos. The set is also filled out with a Sinfonia, Cantata BWV 174 "Ich liebe den Hoechsten von ganzem Gemuete".

I have to admit, the Brandenburgs have never been my favourite Bach concertos (I've taken a star off the rating for that reason). I enjoy more the violin and harpsichord concertos he produced later in his career. Nonetheless, there's a lot of good listening here, especially the Fifth with its formidable harpsichord part, making it perhaps the predecessor of all piano concertos. And who wouldn't love the Second with its part for trumpet, acerbic yet somehow pleasant. But all of this is due, I think, to the fine period instrument performance. Like all educated people, I grew up with the Brandenburgs in the background of life, but the music never really grabbed me. This recording is yet another sign that Bach simply makes sense with period instrument.

Early releases of this set came with a third disc, a DVD containing documentary material. None of the concertos is performed in full, so you aren't missing too much if you can't get ahold of the three-disc version. We get uninterrupted performances of two movements from the Fourth and the first movement of the Fifth. The main component of the DVD, however, is a film by Philippe Beziat on Alessandrini's recording of the concertos. This is interesting and has some lovely visuals, but it's sometimes more about Alessandrini's thoughts of a performer of music than about the actual music that Bach wrote.

The discs come with a booklet containing very informative comments on the concertos by Alessandrini, although strangely it doesn't mention the Sinfonia at all.

I am forced to write here in order to balance the generally encomiastic reviews. To me, this rendition of the Brandenburg is, in any way, a kind of joke. Right, if we must laugh, let's have fun; yes, exhilarating performance indeed! I understand that Mr Alessandrini were bored with the traditional interpretation of the very well-known concert nº 1; I also realise that television thematic channels -in this case, Mezzo-- need to surprise us, passive audiences, from time to time...

Well, I think I know what the poor stag in the enigmatic cover is doing: it's trying to hide within a bunker from the menacing horns he's hearing in the BWV 1046's first movement. Yes, I guess Mr Alessandrini has exaggerated with the brilliant idea of the hunt (see the page 15 of the booklet).

To sum up, I must confess I was as shocked as the animal in the photo and that I felt as naïve as the name of the label when I purchased this version.

I'll give three stars for the sound quality and the dexterity of the musicians. Beware with the horns! -in every way...