Composer: Johann Sebastian Bach
Works: Concerto for two keyboards in C major, BWV 1061; Symphony in G major, Wq 182-1 (Carl Philipp Emanuel Bach); Violin Concerto in D minor “per Pisendel”, RV 242 (Antonio Vivaldi); Concerto for three keyboards in D minor, BWV 1063
Performers: Katia and Marielle Labèque, fortepianos; Ottavio Dantone, harpsichord; Enrico Onofri, violin; Il Giardino Armonico, Giovanni Antonini
Recording: Musikverein, Vienna, 24 April 2000
Label: BRILLIANT
The recent DVD “Italian Bach in Vienna” featuring Il Giardino Armonico offers a fascinating juxtaposition of works from the Bach family alongside Vivaldi, all performed in the historically resonant context of the Musikverein. This blend of composers provides a rich tapestry of early 18th-century musical discourse, wherein the Baroque traditions of Johann Sebastian Bach and his son Carl Philipp Emanuel intersect with the flamboyant style of Vivaldi. Such a program not only showcases the diversity of the period but also invites reflection on the evolution of instrumental music leading up to the Classical era.
The performance opens with Bach’s Concerto for two keyboards in C major, BWV 1061, where the fortepianos played by the Labeque sisters contribute an intriguing coloration to the familiar textures of Bach’s music. Historically, the fortepiano was an instrument that Bach would have known, yet its use in this repertoire remains rare. The instrument brings a distinct clarity and warmth, particularly in the lively Fuga Vivace, where the interplay between the keyboards and the ensemble achieves a delightful conversational quality. However, the Labeque sisters’ engagement with the material seems somewhat tentative, lacking the vigorous dialogue that one anticipates from such an energetic work. Their interpretation, while technically sound, does not fully embrace the emotional depth inherent in Bach’s contrapuntal writing, thus leaving a yearning for greater dynamism.
In stark contrast, the Concerto for three keyboards in D minor, BWV 1063, allows for a more exuberant expression. Here, the Labeque sisters exhibit a marked improvement in their energy and confidence, particularly in the rapid passages that characterize the final movement. The addition of Ottavio Dantone’s harpsichord, though an ambitious choice, unfortunately suffers from balance issues; at times, Dantone’s contributions feel overshadowed by the fortepianos. This imbalance is a missed opportunity, as Dantone is a skilled harpsichordist whose nuanced playing could have provided a richer harmonic foundation for the work.
Carl Philipp Emanuel Bach’s Symphony in G major, Wq 182-1, serves as a highlight of the program, showcasing the ensemble’s strengths. The small orchestration of thirteen musicians allows for an intimate sound that is particularly well-suited to the symphony’s dynamic shifts and expressive phrasing. The lively opening and closing movements display an Italianate flair, with the musicians executing spirited passages and sudden dynamic contrasts with aplomb. The slower middle movement unfolds delicately, with themes that are artfully exchanged among the players, demonstrating a subtlety often underappreciated in C.P.E. Bach’s works.
Enrico Onofri’s interpretation of Vivaldi’s Violin Concerto in D minor “per Pisendel” is an absolute tour de force. Onofri’s virtuosic command of the instrument brings a palpable excitement to the performance, especially in the opening allegro, where rapid arpeggios and soaring passages demand both technical precision and expressive nuance. His ability to navigate the demanding score with apparent ease elevates the Vivaldi work to a standout moment of the evening, reinforcing the notion that, while the concert may be framed as “Italian Bach,” Vivaldi’s contribution is indeed its most compelling component.
The accompanying documentary, “Saving of Bach’s Manuscripts,” offers an intriguing glimpse into the preservation of historical scores, although its brevity leaves one desiring more depth.
This performance by Il Giardino Armonico, despite its occasional shortcomings, provides a vibrant evening of music that celebrates the intersection of Bach, his progeny, and Vivaldi. While the interpretative choices may not consistently meet the emotional demands of the repertoire, the ensemble’s energy and the unique timbral palette of the fortepianos present a refreshing perspective on familiar works. The DVD stands as a worthwhile exploration of this rich musical heritage, appealing to both seasoned enthusiasts and those new to early music.
