Customer Reviews

Bach: Solo & Double Violin Concertos /Manze * Podger * AAM * Manze

5 star:		(17)
4 star:		(4)
3 star:		(6)
2 star:		(2)
1 star:		(4)

 

 

There are not many who have not heard one or all of these concertos previously, particularly the Double Concerto. Having heard both these soloists live and on record, however, I was easily persuaded to invest in another CD of the Bach concerti. Thankfully I was proved right, and have enjoyed these performances repeatedly. Manze brings a sense of the improvisatory to these works, which so often are treated as untouchable monuments. His feeling, which Podger matches in the Double Concerto, revitalizes the spirit of the music. This is not simply to do with speeds, but the inner phrasing, which he encourages the orchestra to follow. If there is a small criticism, it is that some of the ornamentation does not stand up to repeated hearing: but if that is all there is to comment on, then I would not stand in the way of supporting the musicality presented here.

The pieces in this album are well known. However, listening to this brilliant, authentic interpretation and performance of these familiar pieces, fills me with great joy every time I play this CD. The violin concertos, to my opinion among the best of Bach's instrumental pieces, can fit almost every mood. They are perfect for intimate listening while doing absolutely nothing else, but also as background.

I've heard other interpretations to the concertos, but this is the best to my opinion. I must add that people who don't like authentic performance on period instruments might find this performance a bit thin compared to ones performed on modern instruments.

The last piece on the CD (BWV 1060) was a surprise, since it is better known as an Oboe-Violin concerto, and not as a double violin concerto. The result of the change (read Manze's explanaition as to why he did it) is fabulous.

If you buy the CD, take some time to read the short article Manze himself wrote about the recording and the interpretation. It's fascinating.

ENJOY!

I've always felt that the violin was a gorgeous, expressive instrument, and this CD gives me no reason to change my mind. Whether you like music played by period instruments or not, this CD certainly doesn't suffer for it. Both Manze and Podger are highly-regarded as period violinists; however, the focus is on the music, rather than whether the instruments are period or not.
The influence of Vivaldi is clear in these pieces, especially in the alternation of tutti and solo passages, but Bach is a good deal more inventive and daring in his compositions. The interpretation of BWV 1060, the Concerto for Two Violins in D Minor, was an excellent choice and interpretation; using two violins, rather than a violin and oboe, fits the mood of the CD better, and the individual voices of the violins is spectacular.
As a side note, the liner notes are good, including a short essay by Manze on the pieces and interpretation, as well as short biographies of Manze, Podger, and the Academy of Ancient Music. Personally, I think this is one of the better Bach interpretations out there.

This performance of Bach's Violin Concertos is vibrant, dynamic, and skilled, with virtuosic playing from both Manze and Podger, all mixed and molded in the signature Harmonia Mundi sound: clean, articulate, and plush.

History has not been written, but Manze will go down as one of the finest violinists to ever be recorded, baroque, romantic, it doesn't mater. And Podger is certainly not far behind him.

You can get this same disc for less than half the price, one of HM's Bach commemoratives with a catalogue. Take advantage of the quirky marketing.

I need to correct some earlier reviews which state that, due to this recorded performance being played at a different pitch to the norm (a semitone lower or thereabouts), it is somehow played at the wrong tuning.

From my enthusiastic layman's knowledge of period instrument performance, I know that, in the 17th, 18th centuries, etc, pitch had not been standardised at what current pitching is accepted as. Indeed, accepted pitch varied geographically.

I hazard that Andrew Manze et al have spent some considerable thought about which historically accurate pitch to tune their instruments to for this recording and, as a result of their scholarly and artistic superiority to the rest of us (otherwise WE'D be playing rather than listening), are probably much closer to what Bach 'intended' (as if Bach would object to varying interpretations even in his own day???) than some of the less informed reviews suppose.

I for one adore Grumiaux (especially in his earlier ECO [not Swiss] performances - much more vital and less romantic) in this repertoire. But Manze is a superb addition all the same, could be one of the very finest performances I've heard of these works. I recommend this without reservation, but not instead of the classic performances in this repertoire.

I hazard that this will eventually be considered a 'classic' interpretation - the key it's played in suits me fine, and the playing is accurate, wonderfully pacey and incisive, and with that beauty of line only found in a small handful of recorded performances.

I heard these forces performing some of this music in a televised Prom concert. The spontaneity of Manze's solos and the sympathetic phrasing of the band made for a riveting listen. The music seemed to spout from Manze's violin as though he were making it up as he went along, almost like a jazz session. The band mirrored his phrasing exactly, each feeding off the other. It was one of those occasions on which you think 'Yes. This is how the music was meant to sound'. This disc loses but little of the immediacy of the live concert and is a fine example of commitment, drive and style.

The first thing I noticed when I started listening to this recording was how closely the solo violin was recorded (and both soloists in the double concerto). The violin is given no breathing room by the microphones. Consequently, I never listen to this recording. It is one of the worse sounding recordings I own. What a shame, because it's my favorite performance of these pieces.

Bach is my favorite composer, and as all good Bach lovers, I own many(perhaps too many) recordings of his violin concertos. Sadly only three violin concertos remain, though it is known that he composed many more. Of all the recordings that I own of these concertos, I can honestly say that this is definitely the very best of them, meaning this recording tops a list of fabulous recordings by Stern, Zuckerman, Pearlman, and Grumiaux, just to name a few. Andrew Manze and Rachel Potter are inarguably the best baroque violinists that are currently active. This record is a lively, period performance, in which Manze and Podger breath new life into these concertos(not to say that they were dead or anything, because they're not). The sound quality is also excellent and the liner notes are amazing. This period performance is wonderful, offering a very warm and intimiate sound, and I must say it is significantly better than the competition. At a bargain price, you can't go wrong. If you're looking for your first set of Bach violin concertos or are just in need of expanding your collection, buy this record. You'll be glad you did.

I make no bones about it, I'm not on the band wagon of the "Manze Craze" going around the past few years. These Bach Violin Concertos (and previous recordings) show Andrew Manze to obviously be a violinist of extreme technical ability as far as negotiating complex passages, however what he has in complex passages work he is lacking in flowing melodic line, solid intonation, smooth articulation and beauty of sound. His playing often sounds scratchy, awkward and uneven. The tone he emits from his instrument is not attractive and his phrasing sounds unnatural.

Let's look at the A minor concerto in detail and compare it to Jaap Schroder/Academy of Ancient Music/Christopher Hogwood's recording on Decca 400 080 (IDN 3259140008026 Out-of-print) or (A Minor Concerto on Uni/L'Oiseau-Lyre - #43326 ASIN: B000004CYD and E Major Concerto on Pgd/L'Oiseau-Lyre - #448178 ASIN: B000004CYP).

Let's talk about the engineering of the recording, first. When the A minor recording first started I was struck by the boxy closed-in sound of the Manze recording and it's lack of high overtones from the baroque violins. The prominence of the Manze's violin overpowers the orchestra. On the other hand, Schroder's recording is much better balanced with a really nice ambiance to the recording with a decay time of about 2 seconds, perfect. Schroder's recording has the nice high bright silky overtones which the original instruments should have.

For the performance, Manze shows uneven articulation and wavering intonation that is not enjoyable to listen to. Also, there is a lack of what I would call buoyancy to the Manze recording. Schroder has a command of the music with solid intonation combined with smooth articulation. Schroder's fast movements are buoyant and soaring when needed. While listening to the slow movement of the Schroder recording, I was lulled into ecstasy. Manze, on the other hand takes the slow movement too slow and his tone is uneven during long notes. In one instance he reaches a high note and there is a definite slide up into the note that is very irritating.

As a side note, another alternate recording that is almost as good if not as good in it's own way as the Schroder recording is the one by Elizabeth Wallfisch on Virgin Records - #61558 (ASIN: B00000J2PS).

All in all, the Manze recording of Bach's Violin Concertos makes for an unsatisfying listening experience. You would be much better off with the Schroder or Wallfisch recording.

Manze and Podger's disc of Bach Concertos, including the Double Concerto in D-minor, is a good disc, and the performances are good performances; make no mistake. In fact, if you can get the ... version (with 2001 Harmonia Mundi catalog), I would unhesitatingly recommend that you buy it. But have a care, this is far from the greatest recording of the Double Concerto, and I would even go so far as to say that this disc may irk some Bach purists.

Certainly Andrew Manze is a genius of a violinist, period or otherwise, but I'm still not convinced he "gets" Bach (although his 2-disc set of Sonatas for Violin and continuo make a very good argument). And Podger, on this disc and on her Solo Sonatas and Partitas discs, seems to play with a sensitivity for the musicology surrounding the pieces and a near total ignorance of the past century of Bach interpreters on the violin. This can at times be refreshing, but still, she is no Heifetz or Milstein... not even close. The playing on this disc is lively, fresh, spirited, exhibiting Harmonia Mundi's trademark warmth of tone. In short, it sounds like Vivaldi. The interpreters seem to gloss over Bach's more serious and sublime side. Three of the four pieces on this disc are in minor keys, which typically call for a bit more depth of feeling when it comes to Bach, but the players here whip through them with the verve and flourish of Venetian street musicians (albeit with better engineering).

Certainly don't shun this recording. It is truly delightful. But don't take it as the defining recording of these pieces. If you enjoy this music, try to explore some differing interpretations, especially of the D-minor Double Concerto. There are plenty out there, and many of them give you a depth that this recording doesn't. I would recommend Heifetz's Double Concerto (on a disc with a Mozart and a Brahms concerto). His interpretation is perhaps the finest ever recorded....