Bach Concertos for 2 Violins in D minor BWV 1043-Perfect 10

After listening mostly to Piano pieces, I have switched to Violin pieces. An article on Gramophone Vol 88 on a mock court to decide which interpretation of Elgar Violin Concerto by soloist Albert Sammons accompanied by New Queens Hall Orchestra under the baton of Sir Henry J Wood for the prosecution and soloist Lord Yehudi Menuhin accompanied by London Symphony Orchestra directed by the composer Sir Edward Elgar himself for the defense. I was at first elated to discover that I actually have the Yehudi Menuhin's version in my collection. I was about to pop the champagne to find that I also have another version of the piece but it was to be by soloist Nigel Kennedy accompanied by City of Birmingham Symphony Orchestra under Sir Simon Rattle (recorded before Nigel Kennedy turned to the dark side and became a crossover) and not Albert Sammons. I had a good listen to both pieces and according to the article, Yehudi Menuhin was far too slow but Nigel Kennedy's version was even slower and had a more inconsistent tempi and I take it that Sir Edward Elgar must have approved of Yehudi Menuhin as he was the conductor and he had intended this piece to be emotively played with much headroom for the soloist  to vary the tempi.

After scanning through some of violin pieces, I stopped at Bach Concerto to 2 Violins as I was surprised to find that I have 10 full versions of it and many of them by big name artiste and I was surprised myself how on earth did I accumulate this much. Could be my failing memory as a sign of growing old when making purchases or this piece must have caught my fancy sometime in the past as about half were not purchases in recent years. I recalled that while I was younger, I had some intention to use the second movement of this piece for my organ competition but did not. First, let me pen down the versions and thereafter made some comments about the piece as there is something in common with Elgar Violin Concerto as the variation in timing between the various artistes were also wide ranging.

1. Andrew Manze/Rachel Podger,Academy of Ancient Music-Andrew Manze
2. Elizabeth Wallfisch/Catherine Mackintosh,The King's Consort-Robert King
3. Julia Fischer/Alexander Stitkovetsky,Academy of St. Martins in the Fields-Andrey Rubstov
4. Hilary Hahn/Jeffrey Kahane,Los Angeles Chamber Orchestra
5. Isaac Stern/Itzhak Perlman,New York Philharmonic Orchestra-Zubin Mehta
6. Baiba Skride/Daishim Kashimoto,Royal Chamber Orchestra-Shunsaku Tsutumi
7. Arthur Grumiaux/Arpad Gerecz,Les Solistes Romands
8. Anne-Sophie Mutter/Salvatore Accardo,English Chamber Orchestra
9. Itzhak Perlman/Pinchas Zukerman,English Chamber Orchestra
10. Yehudi Menuhin/Leon Goossens,Bath Festival Orchestra-Christian Ferras

This piece of work is popular even in current times like in Woody Allen's film 'Hanah and her sisters' and 'Children of a lesser God' and many more. This could have been the reason for being a choice recording by many artiste but most probably not in the recorded to death category.

The first movement is where you will hear the most differential in interpretation by the various artiste. Bach has marked it as vivace which means lively and fast or above 140 bpm according to Harvard Music Dictionary but the metronome was not yet in existence during Bach's time and 140 bpm did not exist in the dictionary then. However, you will find that the more contemporary artiste tend to take it as 140 bpm as the minimum and in Rachel Podger and Julia Fischer interpretation, it was more like catching the A train. Personally, I still like the versions by Arthur Grumiaux, Isaac Stern and Yehudi Menumin albeit the slower tempi, it sort of brings out the sweet aroma of the melody in an unhurried manner. Perhaps Bach meant lively more than fast when he uses the term vivace for the first movement.

I have always been fascinated by Bach music as it was in his era commonly known as the Baroque era that music started to start some form and structure and yet he his music is seems so simple but deeply matured. For example, parts of his Well Tempered Clavier is so simple that it is graded a beginner's piece and yet so deeply matured that it is played and recorded by many grand masters. With being religious, it is sometimes like the Bible that is simple enough for the simpleton and yet has enough mystery and depth to confound scholars through the ages. I think that when Bach personally remarked playing music is as simple as playing the right notes at the right time, he might not meant it as a joke really as some of his music can be so simple to be enjoyed and played by many and yet so deeply profound for the grand masters that want to have a full understanding of it.

Cheers,,,,Pete aka http://lkypeter.blogspot.com

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