Bach's Fifth Brandenburg Concerto - A Recording Survey
Welcome to my survey of Bach's Brandenburg Concertos in which I will try to describe my personal experiences with the versions I listened to. I will start with the fifth concerto, the BWV1050. This concerto is my favorite Brandenburg concerto (an honor only shared by the second). I will assume that you are familiar enough with the music so I will skip the part of introducing it directly to the reviews.
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Let us start by reviewing Harnoncourt's recording on Teldec, which proclaims to be the very first 'authentic' recording of the Brandenburgs. Harnoncourt takes the first movement pretty slower than most recordings. And the results are, unfortunately, not impressive. One of the important things you must pay attention to when listening to the Brandenburgs is: the very first seconds of the performance or what I call the 'entrance' of the concerto. Will it impress you? Will it succeed in grabbing your attention? If your answer to the previous is negative, then most probably you will end up thinking of what you will have for lunch, leaving the performance altogether.
Now let us return to our dear Harnoncourt. The 'entrance' is slow, almost bland in its treatment of the theme; and now -judging by the corollary above- I am prepared for a middle-of-the-road performance. Timing 11:08. The cadenza seems to me as sluggish, rhythmically rigid and technically non-impressive.
The second movement also comes slower than most versions, timing in more than 6 minutes. For anyone who is used to a faster performance, the slower approach may actually sound fresh. But despite the slow approach taken here, I feel it fails to add any more pathos, and my interest wanes after halfway of the movement. Nevertheless, I would (at least) like to congratulate the violinist and the flutist; who managed to pull this slow performance from a miserable fate. It seems that the beauty of this music makes it difficult to totally screw it up.
The third movement, again, is sluggish and clumsy. The slow tempo used destroys the effect of the jumpy rhythmic opening motive. The only special highlight here is Harnoncourt's execution of the second motive without the ornament usually added at the end of each phrase. The result is a bare Bach melody in its simple beauty.
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Let us arrive at Pinnock and the English Chamber Orchestra. This is one of the best versions. Phrasing is sharp with plenty of staccato and the tempo is urgent in the first movement. Pinnock's recording boasts very good sound quality with the a crystal-clear sound of every instrument; exactly as if the soloists are performing with you in your own room. The cadenza is the baldest cadenza I have ever heard, with every note distinctly heard, and I have to admit I like the sound of his instrument. You have to thank God that you are in the presence of Pinnock's harpsichord.
The second movement is given a very good performance, although somewhat conservative, and the tempo a tad too fast (only 5 minutes). With Bach marking this one 'affetuoso', I expected a warmer sound and a more romantic approach; but the execution is very good nonetheless. Again you have to thank God that you are in the presence of Pinnock's harpsichord.
The third movement is finely brought out. The first motive section delivers the jumpy joyful mood I require successfully. I remind you again to thank God that you are still in the presence of Pinnock's harpsichord. But as the movement progresses, accents increase on the beats adding even more highlight to the rhythmic motive; and thus heightening the heroic or urgent sense. I wished that he continued smoothly to the end to suit the playful mood of the movement.
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Now we come to Marriner's version with the Academy of St.Martin-in-the-fields; a modern instruments recording. Marriner's fifth is on the whole, more intimate than Pinnock's. The first movement is one of the best with superb treatment of the main themes and the climax. The cadenza here is very special, with clarity not the least compromised. No wonder... this is George Malcolm at the keyboard. This makes a very nice version of a first movement.
Marriner's second movement is slower than Pinnock's. The sound is more intimate than Pinnock's more articulated period instrument approach, here with a warmer legato violin; and thus reaches a better 'affetuoso' conclusion. What did you have in mind? This is a beautiful musical conversation between two star soloists; Szeryng and Rampal; competing in sublime music-making.
The third movement succeeds in achieving the joyful rhythm that I search for in this movement. And contrary to Pinnock's more sharp and accented phrasing, the sound is smooth and merry till the end.
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Now we come to Karl Richter's version with Munchner Bach-orchester on modern instruments; the concerto being recorded in the sixties. As I listen to the first movement: Richter's phrasing and voicing is very good. Richter chooses to keep the voices low and entered with the ritornello in forte. The cadenza is less impressive than Pinnock's (or even the Marriner's, for that matter).
The second movement is nicely played. The third movement is taken at a more relaxed tempo, so it does not achieve the ‘joyful jump' I find in the Pinnock or the Marinner.
This version is not bad at all; but it failed to leave a strong impression on me; especially with that harpsichord sound in a work that can be mainly considered as a "Keyboard concerto".
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Savall's fifth concerto, with the Concert De Nations boasts fine balance between the instruments. Of course, he uses period instruments... to the extreme. The tempo is perfect. This is one of the finest first movements. A fine balance is achieved between sharp and connected phrasing. The recorder playing the rising notes before the climax floats in gentle air. The harpsichord sounds very good, and the harpsichordist takes a relaxed approach to the cadenza and -good for him- avoids a metronomic approach, but a sweet surprise that he bursts in fury when the note values gets smaller. He does not however exceeds Pinnock's fury, speed or control. But this cadenza is a very unique and welcome addition.
The second movement can be compared to Pinnock's. But the execution is more sensitive and romantic... a more 'affetuoso'.
The third movement here, thankfully, jumps joyfully and provides a beautiful contrast to the romantic slow second movement. Phrasing is sharp with plenty, but not excessive, staccato as any other recording belonging to the authentic school. But thankfully I cannot hear Pinnock's accents in this one.
To conclude: this is a very fine fifth and from the best I've heard.
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Now we come to Karajan and the Berlin Philharmonic. It now becomes pretty obvious to the listener after hearing all previous versions the different approach used by Karajan. The result here .. is a fifth worthy only as a prelude to his famous 'Karajan Adagio' album. All nuances are lost and you are left with a big bubble of beautiful sound. True, the sound is indeed beautiful and no one can deny this fact, but all the fine nuances and effects of this repertory is lost.
Now to continue the quick review of his fifth: the first movement drags and it appears from the starting opening motive. As I previously said, When the opening does not grip you from the start, be prepared for a dragging performance. Also expect an exaggerated forte from the maestro here or there.
The second movement is, to the Maestro's luck, marked affetuoso. Karajan takes the romance to the extreme and scores a 6:10 performance. What makes me guilty is that the sound is beautiful... Very beautiful! Almost dream-like!! No one can deny Karajan's masterly romantic Adagios. So I cannot condemn this approach just because it is different. And I am the farthest one from a purist. But it is obvious that the performance does not follow basic Baroque performance practices. And for the last movement, a lyrical romantic approach is equally given; and another trial from the conductor to make it sing more.
Summary: Not my fifth; and preferably not yours too.
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Another fine version comes from Jeanne Lamond and Tafelmusik, the only woman conductor reviewed here.
The first movement is a very good version. The cadenza is well done on the whole, taking the more relaxed approach with special rubato but it still does not stand up to Pinnock's.
The third movement here is not bad, but nothing special. It lacks some of the jumpiness that heard in Marriner's or Pinnock's recording due to softened sound; the fast tempo notwithstanding. I can almost say that it also lacks in color. One may blame the sound engineering here. This is contrary to the soloists shining through in the Pinnock or Marriner version.
So in a quick summary:
We have many nice versions. I cannot even say I completely hate the Harnoncourt. I have two top contenders, Marriner and Pinnock (and Savall's a third). The other versions are good but lack some color or character. I also dislike the sound of Richter's harpsichord.
Pinnock's cadenza is the most jaw-dropping. And the close sound of instruments is captivating; just as if they were playing just for you. Listen to this version and, as always, do not forget to thank God for being in the presence of Pinnock's harpsichord. And one can always go with Savall if he will prefer a more personal sound with less staccato and less accented phrasing and also a special cadenza.
However, I will settle with Marriner's; my favorite. I cannot describe the "team-work" and cosy sense of ensemble Marriner and his performers achieve. Szeryng's violin cannot be competed with; and with Rampal on the flute, this is sublime music-making. And do not forget the superb Harpsichord cadenza from Malcolm. The second movement is the 'affetuoso' conclusion Bach wants to reach without the fluffy sentimentality of Karajan or the dragging tempos of Harnoncourt. I can imagine all of them there performing and having fun whilst producing beautiful music.
I would like to add in the end that I only heard a handful of recordings and this is not intended as a reference for anyone seeking a definitive list. Opinions, questions and reflections are always welcome, as well as suggestions for other versions you think are good enough for me to hear in the near future. Just open a discussion thread for this essay in the discussions tab. And I promise that I will update the list as I listen to more versions.
Ahmed Bassiouny
