Composer: J. S. Bach (1685-1750)
Works: Violin Concerto BWV 1042, Concerto for Two Violins BWV 1043, Violin Concerto BWV 1041, Piano Concerto No. 1 BWV 1052
Performers: Adolf Busch, violin and director; Eugene Istomin, piano; Frances Magnes, violin; Busch Chamber Players
Recording: New York, 1942-1945
Label: Pearl GEMM CD 9298
The enduring legacy of J. S. Bach’s concertos resides not merely in their melodic and structural brilliance but also in their capacity for interpretative exploration. This collection, featuring the esteemed Adolf Busch alongside the Busch Chamber Players, presents performances that, while recorded in the 1940s, have not yet achieved the recognition they merit in the contemporary milieu. The selection showcases a range of works central to the violin repertoire, emphasizing the composer’s intricate interplay between soloist and ensemble, as well as the profound emotional depth of each concerto.
Busch’s interpretation of the Violin Concerto in E major, BWV 1042, emerges as a quintessential representation of his artistry—both robust and expressively nuanced. The heavy bass accents, captured within a resonant acoustic, lend a certain gravitas to the performance, though they occasionally verge on overloading the sound. Nonetheless, moments such as the heightened expressiveness at 5:04 in the first movement exemplify Busch’s ability to balance architectural integrity with emotive depth. Notably, his avoidance of excessive pauses at 3:30 in the second movement reveals a meticulous attention to phrasing that allows the movement’s lyrical line to unfold naturally, contrasting sharply with the Brucknerian tendencies of many contemporaries. The precision of his slides, tastefully executed, further enhances the interpretative depth.
Turning to the Concerto for Two Violins, BWV 1043, the partnership between Busch and Frances Magnes proves congenial, resulting in a performance that is both expressive and romanticized. The Largo section particularly shines, characterized by a lyrical interplay that speaks to both violinists’ sensitivity and collaborative spirit. However, the thunderous bass accents in the finale may not appeal universally; their prominence could be seen as undermining the subtlety that often defines this work. The live performance of the A minor Concerto, preserved on acetates, offers an intriguing glimpse into Busch’s interpretative style—though the sound quality is somewhat constricted, the flexibility of his line remains striking. Despite moments of less-than-ideal tone, the dynamic contrast and metrical sophistication he brings to the phrases are undeniable, though some may find his approach to tempo slightly cumbersome.
The inclusion of the Piano Concerto No. 1 in D minor, BWV 1052, allows for a refreshing shift in texture. Eugene Istomin delivers a youthful and technically secure performance; however, it lacks the emotional depth that one might hope for from such a venerable work. His trills are even, and the passagework robust, yet a certain depth of feeling seems elusive. A notable concern arises from the rapid transitions between movements, where a mere second’s pause detracts from the overall coherence of the performance. This raises questions about the engineering quality of the recording—did Pearl adequately assess the disc before release? An urgent call for reissue with improved attention to these details is warranted.
Busch’s interpretations in this collection, while not without reservations, ultimately resonate with a historical authenticity that captures the essence of Bach’s genius. The performances reflect a deep understanding of the music’s architectural framework and emotional landscape, allowing listeners to appreciate both the virtuosic demands placed on the soloists and the intricate dialogues woven within the ensemble. The recording, despite its technical shortcomings, serves as a vital document of a significant era in Bach interpretation and stands as a testament to Busch’s enduring legacy.
