Customer Reviews

Bach: Sinfonias Vol. 3

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J. C. Bach was a highly popular composer in his time, sometimes called the "London Bach," and it is easy to understand his popularity given the extremely high quality of his music. Listening to this, you will understand how much Mozart learned from his acquaintance with, and study of, this Bach's music. This leans toward the "galante" style, less contrapuntal than that of Bach's father, J. S., but make no mistake that is highly expressive and remarkably well constructed. J.C. Bach apparently wrote music that he liked at least as well as others. In one anecdote, which may not be true but sounds true, he wrote on the autograph of one score something like: "Written by J. C. Bach and so good even I can hardly believe I wrote it." Conductor Gmur is not a household name, but his work here compares with the excellent recording by Marriner on Phillips (now fortuitously restored as an "Arkiv CD.") The orchestra turns in excellent playing and committed performances. Sonically, there may be a little less "air" around the sound than on the outstanding Phillips recording, but the recording is full, realistic and very pleasing. If you like the true classical style of music, you definitely will like this disc.

We live in an age where we need more of J.C. Bach; less profundity, and more beauty. The first time I heard the Andante con sordini from Op.9, No.2, I fell to my knees and wept. 'Here', I thought, 'is a composer who speaks with true Festschriffer!'

This collection promises a sampling of the beauty of J.C.: from the bold masticulation of the Allegro con spirito of Op.9, No.1, to the graceful torsades phrasing of No.3's Andante, to everything in between.

Unfortunately, Hanspeter Gmur, who I generally find to be very perceptive, has made a fundamental gaffe in interpreting the galant style: he has striven for (and achieved, I might add) a beauty of sound, but at the expense of the characteristic tempo gradiations that make the London Bach's style so piquant, so shimmeringly vogiaunt in a tasty way.

Oh, you cannot fault the sound. As always, the Camerata produce achingly beautiful sonorities. For example, I have never heard the Andante di molto of the A major concertante played with such deepfelt compassion.

But, alas! the ferocious give and take of the rondos, the teasing jocularity of the incipient recapitulation manque in the first movement of the Bb major, the astonishing jolt of the deceptive cadences in all of the Allegro mavements....one listens in vain for them here.

As always, the Festetich Castle provides a grand acoustic for the recording (although I would have preferred a touch less reverb).

All in all, considering the more than reasonable price, this is a good candidate for the budget seeker, but not for the definitive collector or for a gift for someone special.