The truth is, any of today’s upper-tier period-instrument orchestras worthy of the name can deliver excellent performances of Bach’s Brandenburg Concertos; and there are plenty of them already in the catalog, from Tafelmusik (Tafelmusik) to Bach Collegium Japan (BIS), to Le Concert des Nations (Astrée), to Concerto Italiano (Naïve), to the Linde Consort (EMI)–well, you get the picture. So, the logical, if not essential, question such a group should ask itself before deciding to embark on a new recording of these works is: is it really necessary? And that’s exactly what the members of Concerto Köln–whose credentials as an orchestra and as experts in Baroque repertoire certainly fit the above “upper-tier” description–did before reaching a “unanimous decision”: they would do it only if they could offer a new perspective based on original Bach, not on some imposed modern idea of Bach.
The details are all in the booklet notes, but briefly the new perspective consists of a low tuning pitch of A=392 (primarily to allow the high trumpet in Concerto No. 2 to sound more like the “French trumpet” presumably used in Germany during Bach’s time); a rather radical interpretation of Bach’s reference to “Fiauti d’Echo” in Concerto No. 4 (involving the commissioning of construction of a “double” recorder, supposedly a real but long lost instrument, made from one piece of wood, with two sets of finger holes and two mouthpieces, one playing loud, the other soft); and the choice of harpsichord for the Concertos No. 4 and 5–a double-manual copy of a 1739 Johann Heinrich Gräbner instrument, with its “superior tonal qualities” (rather than the usual Christian Zell or Michael Mietke models used in today’s performances)–and the employment of violone (a bass violin, or double-bass viol) in the continuo (not exactly a new perspective).
Knowing these details certainly enhances our listening experience: our ears are primed to recognize them; however, without prior knowledge of these performance choices most listeners familiar with these works probably won’t notice any significant difference from other period-instrument-style renditions. Does the trumpet in No. 2 sound less pinched and pungent than usual? Yes, if you listen carefully. Do we discern the presence of a “great bass violone in G” (instead of a double bass) in that same work? Probably not, but we do enjoy the rich-textured ensemble sound. Do we notice that in concerto No. 6 the ensemble utilizes “alto-tenor viola da gambas” rather than the usual tenor-bass instruments (exploiting the former’s “brighter, more transparent sound”)? No, but we do appreciate the delicious bite and vigorous articulation throughout.
In the liner booklet there are some beautiful photos of the “echo flute” constructed for and used on this recording–but neither its sound nor sonic effects are any different from any two well-made single recorders in the hands of competent players. (In the indispensable Oxford Composer Companions volume on J.S. Bach, edited by Malcolm Boyd, David Lasocki gives a clear explanation of the ongoing speculation regarding the identity of Bach’s “Fiauti d’Echo”, as well as a convincing suggestion that the echo effect in the concerto No. 4 was figurative rather than literal, that the soft and loud effect would happen naturally due to the tutti and solo scoring.)
The most important aspect of these performances turns out not to be the “new perspectives” but the direct, honest, un-fussy, uncompromising interpretations that take the fancy polish off and just get down to the bare essence of Bach’s scores, played with soul and youthful energy and reveling in the vibrant sound of instruments made of wood and gut and reed. The performances, especially in the first three concertos, are faster than most, but with the exception of the Allegro of concerto No. 3 (where, unfortunately the now-common “I can play it faster than you” silliness that disfigures so many modern performances infects this one as well) the effect is exciting, the technique affirming of these works’ originality and fundamental power to engage the mind and entertain the spirit. This is a fine, easily recommendable set of Brandenburgs, perhaps not “necessary” in regard to the generously stacked catalog offerings, but definitely a worthy competitor to any of the period-instrument versions. If you’re looking for a set, you won’t regret.
