CPE Bach: Four Symphonies Wq.183 - OAE, Gustav Leonhardt

Carl Philipp Emanuel Bach
Four Symphonies Wq.183, Symphony No.5 in B minor
Orchestra of the Age of Enlightenment, Gustav Leonhardt
Virgin VC 7 90806-2

It was in August last year that I wrote enthusiastically about a recording of Emanuel Bach's second Hamburg set of symphonies, Wq 183, by the Amsterdam Baroque Orchestra under Ton Koopman on Erato (not currently available). Now it is followed by another, directed by Koopman's compatriot Gustav Leonhardt; this time, though, the band is an all-British group, the Orchestra of the Age of Enlightenment. These four symphonies were composed in about 1776 when, according to the German Enlightenment poet, Klopstock, they were performed by 40 instrumentalists comprising an orchestra of horns, flutes, oboes, bassoon, violins in two parts, viola, cello, bass and continuo. Emanuel Bach regarded them as the most substantial works of the kind that he had written; "modesty forbids me to say more," he added somewhat coyly. Koopman chose a much smaller string ensemble than Bach's, consisting of only seven violinists, a single violist, two cellists and a bass. Leonhardt, on the other hand, prefers a considerably larger body of strings: six first and six second violins, four violas, three cellos and bass; both field similar wind groups, that is to say pairs of flutes, oboes and horns with a single bassoon.

While I liked Koopman's spontaneity and his ability to realize Bach's colourful textures I found a tendency towards rhythmic rigidity. Leonhardt's rhythms are invigoratingly taut but with an effective elasticity which suits the quirky temperament of Bach's idiom. Tempos are, by and large, comparable with those of Koopman, at least in the outer movements, but where Leonhardt really scores over the rival set is his more assertive body of strings which lends greater substance to the music and provides opportunity for more telling contrasts between strings and wind; and these are vividly apparent in the first-rate recorded sound which allows the listener to enjoy the subtle nuances in Bach's orchestral textures.

For good measure, Leonhardt gives us an additional symphony, one in B minor from Emanuel Bach's earlier Hamburg set of six, Wq182 (1773). These are for strings only and as a complete set are currently available on Archiv Produktion in excellent performances by the English Concert directed by Trevor Pinnock. The new version of the B minor Symphony is lively but lacks the infectious élan of the Archiv performance. In conclusion a stimulating issue which captures the elusive spirit of the empfindsamer Stil affectingly and with stylistic assurance.

N.A., Gramophone.net