JC Bach: Symphonies & Concertos - Alpermann, Huntgeburth

Johann Christian Bach
Symphonies & Concertos
Raphael Alpermann, Christoph Huntgeburth,
Akademie für Alte Musik Berlin
Harmonia Mundi HMC901803

This program devoted mostly to the works of Johann Christian Bach, J.S. Bach's youngest son by his second wife Anna Magdelena, likely is the most captivating if not bizarrely eccentric recording of his music to date. In fact, given how the Akademie fur Alte Musik Berlin thrills here with its deft articulation of dynamics, severe movement contrasts, and generally breathtaking ensemble playing, it's doubtful that the composer himself ever heard these relatively conservative works performed in such a fashionably progressive way. For example, the opening Adagio of the Symphonie in E-flat minor begins with an extraordinarily quiet entrance, eventually punctuated by flourishes of strings and winds, all the while maintaining the momentum of a snail. The brusque, sharply-delineated brass and wind figures that open the hyper-animated second-movement Allegro molto make for a startling contrast - as does the third-movement Allegretto, which regardless of its actual dynamic marking is performed so quietly as to be barely audible. Unless you happen to enjoy adjusting your volume control movement by movement, you'll likely be more annoyed than excited here.

As suggested earlier, the material itself is also somewhat wanting, and regardless of all the apparent exuberance, passion, and vigor these expert musicians bring to this music, little here transcends well-worn galant convention. The outer Allegro and Allegro molto movements of the Symphonie in G minor seemingly feature J.C.'s most inspired, forward-looking writing, though for this I'm more inclined to credit the ensemble's overly dramatic performance rather than any intention on the part of the composer. Arguably the final Andante con moto of the Concerto for harpsichord is the least-inspired, most excruciating movement, where soloist Raphael Alpermann (whose instrument often sounds unnaturally recessed) introduces the theme, and the orchestra repeats it--again and again.

The program ends with a performance of a work by J.C.'s younger brother, Carl Philipp Emanuel. It's the premiere recording of a 1747 Concerto in D minor previously recognized to be scored for harpsichord, though recently discovered sources have revealed the flute as the composer's originally intended instrument. How refreshing! Here - and notably in comparison to his sibling's preceding works - C.P.E.'s often rich thematic diversity and inventive use of harmonic and rhythmic detail are a marvel. Soloist Christoph Huntgeburth and the accompanying ensemble deliver a wonderfully lucid, engaging performance, and their brisk concluding Allegro di molto makes for an especially impressive and memorable finale.

John Greene, Classics Today.com