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10 of 10 people found the following review helpful:
5.0 out of 5 stars
Charming Concerted Music by Bach's Son, Johann Christian, 25 Feb 2006
I had not ever heard any of the music or performances in the more than twenty issues of music by Johann Christian Bach (1735-1782) done by Anthony Halstead and his period instrument group, The Hanover Band. And I didn't have much in the way of expectations for this issue. As an indication of how one's expectations can govern one's reactions, I didn't much respond to this disc the first time I heard it. I thought it merely light, pleasant, but not terribly memorable. I have heard a lot of galant and early Classical Period music that didn't particularly impress me and I immediately put this disc in that category. But then I noticed that some of the melodies stayed in my mind's ear and that when I came back to the CD for another listen it suddenly opened up for me. I was not only impressed with the performances -- that almost goes without saying, given these fine musicians -- but with the music itself. And I had to remind myself how often this phenomenon has happened in my long years of auditioning new recordings of works unfamiliar to me. First impressions, we need to be reminded, are not necessarily lasting impressions. I was amused then to read in the scholarly notes by Prof. Ernest Warburton that J.C.'s older brother, Carl Philipp Emanuel (in whose Berlin home he lived for several years, studying with his brother), wrote during the period of these works that 'There is nothing behind my brother's present manner of composing ... It pleases and fills the ears, but the heart remains empty.' Well, he was wrong. And Mozart felt that as well. He wrote about J.C. Bach to his father, 'What is slight becomes great when it is written with a natural flow and in a light hand while at the same time being worked out thoroughly. To do this is more difficult than all the artful harmonic progressions incomprehensible to most.' Indeed these works were written for their entertainment value, and did not seem to be reaching for solemn meaningfulness. But of their kind, they are exemplary. The CD contains three 'symphonies concertantes,' a term simply meaning concerti for more than one solo instrument. They are the Symphonie Concertante in B Flat Major (C 48) for Oboe, Violin, Cello and Fortepiano, the Symphonie Concertante in C Major (C43) for Flute, Oboe, Violin and Cello; the Fortepiano Concerto in G Major (C60 B) for Fortepiano, 2 Violins and Cello; and as a tiny lagniappe the Cadenza in C Major (attributed to the Symph. Conc. C 45) for Oboe, Violin, Viola and Cello. The Fortepiano Concerto, played from manuscript, is a longer, presumably earlier alternative version of the published Concerto in G, Op. 7, No. 6. All the performances are simply sterling. It is clear that these musicians have this music in their minds' ears, not surprising after their having played so many of J.C. Bach's works by now. The soloists are members of the orchestra and the fortepiano is played by the group's estimable leader, Anthony Halstead. As for the music itself, these works are unfailingly melodious, light, fluid, beautifully crafted and perfect exemplars of that proto-classical concerto, the symphonie concertante, a form that flourished from about 1765 and for the nearly sixty years following. It may indeed not be the most profound music ever written, but it is heart-easing in its emphasis on grace and style. Stanley Sadie, in his article in Grove's, indicates that J.C. Bach's symphonies concertantes are 'as a group unmatched by any other composer.' Scott Morrison
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