The Brandenburg Concertos Presented by the Chamber Music Society of Lincoln Center

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Parent Category: Film and the Arts

Category: Reviews

Published on Wednesday, 15 January 2025 15:11

Written by Jack Angstreich

Photo by Cherylynn Tsushima

At the superior Alice Tully Hall, on the night of Friday, December 13th, I was unusually fortunate in attending a wonderful concert—presented by the Chamber Music Society of Lincoln Center—devoted to the magnificent Brandenburg Concertos of Johann Sebastian Bach.

In useful notes for this program, Ellen Exner provides some background on these works: 

In 1721, Bach compiled this set of highly individual, and in many ways unusual, chamber pieces for all different combinations of instruments and sent them in score format, with a humble letter of dedication, to Christian Ludwig, the Margrave of Brandenburg (1667–1734). It is thought that Bach must have played for the Margrave in 1719, on a trip to Berlin to pick up a new double-harpsichord. Bach's dedication states that the concertos were sent at the Margrave's request, based on his delight in Bach's talents. 

The event started strongly with the Concerto No. 6 in B-flat major, BWV 1051, featuring violists Paul Neubauer and Milena Pájaro-van de Stadt, cellists Jonathan Swensen, Inbal Segev and Dmitri Atapine, and with double-bassist Blake Hinson and harpsichordist Kenneth Weiss, both of whom performed on all the works in the program. An ebullient, initial Allegro is followed by a slow movement marked Adagio ma non tanto that is graceful and serious but not grave, while the Allegro finale is delightful and even livelier than the first movement.

The Concerto No. 1 in F major, BWV 1046, was played by Aaron Boyd on the violino piccolo—“a violin tuned a third higher than usual,” according to the annotator—violinists Daniel Phillips and James Thompson, Pájaro-van de Stadt and Segev again, oboists James Austin Smith, Randall Ellis and Stephen Taylor, bassoonist Marc Goldberg, and on the hunting horns (corni da caccia), Julia Pilant and Stewart Rose. The opening Allegro is enchanting and ingenious, preceding a solemn, song-like Adagio and another, exuberant Allegro. The finale begins with a charming minuet with a modest Trio and a more urgent Polonaise; a second Trio is more energetic.

The Concerto No. 5 in D Major (BWV 1050) was performed by Phillips, flautist Tara Helen O’Connor, violinist Chad Hoopes, Neubauer and Atapine. The Allegro first movement is vivacious and brilliant, featuring an unusual, extended, and virtuosic keyboard solo. A sensitive and emotional slow movement marked Affetuoso precedes a dance-like, Allegro finale with an intricate, even dazzling, fugue.

The Concerto No. 4 in G Major (BWV 1049) was executed by Hoopes, flautist Sooyun Kim, O’Connor, Boyd, Thompson, Pájaro-van de Stadt, and Swensen. It starts with a bravura, sparkling Allegro, while the ensuing Andante has an almost elegiac quality, and the also effervescent Presto finale is an incredibly complex and awesome fugue.

The Concerto No. 3 in G Major, BWV 1048, featured Boyd, Thompson, Hoopes, Pájaro-van de Stadt, Philips, Neubauer, Atapine, Segev and Swensen. The beginning Allegro is energetic and engrossing and, after an exceedingly brief Adagio, the Allegro finale is dynamic and propulsive.

And at last, the Concerto No. 2 in F major, BWV 1047, was played by Thompson, Kim, Smith, trumpeter David Washburn, Phillips, Hoopes, Neubauer, Atapine, and Goldberg. The opening Allegro is winning and sprightly, succeeded by an exquisite, reflective Andante anda jubilant, irresistible Allegro assai finale.

The artists deservedly received an enthusiastic ovation.

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