Bach: 3 Oboe Concertos

There is plenty of sound musicological evidence to support the theory that Bach had the oboe in mind as a solo instrument for at least some of the concertos which have come down to us in other forms. The only reconstruction, however, which has attained a degree of popularity and, perhaps, a tacit acceptance of healthy pedigree, is the Concerto in A major for oboe damore and strings, BWV1055. It is, even so, far better known in the version handed down to us, that is to say as a concerto for harpsichord and strings. Heinz Holliger gives us a characteristically fluent and tasteful performance of this work with its warm coloured outer movements and more deeply searching Larghetto. I liked his tempos and I liked his phrasing. In matters of ornamentation the oboists problems are harder to solve since what suits the harpsichord does not necessarily sound convincing on an oboe. Holliger follows Bachs ornamentation of the slow movement fairly closely but bases his procedure in the outer movements on what Bach appears to have had in mind when first conceiving the work. Its a compromise, but it convinces more readily than a performance which I heard recently in which all ornamentation was eschewed in an effort to avoid anything that Bach himself might not have approved of. The remaining concertos on this record are seldom heard in their present form. First, and most substantial, is a reconstruction in F major of Bachs Harpsichord Concerto in E major, BWV1053. Holliger reckons that its comparatively dense orchestration suggests that Bach may originally have had the oboe in mind as a solo instrument since a flute of those days would not have been sufficiently able to compete with the string texture. Maybe he is right but what cannot be proved historically certainly is persuasive in performance. The first two movements come off especially well and are two of the most engaging things on an altogether interesting and entertaining recital. All movements in this concerto, if you recall, make appearances, in different clothes, in Bachs church cantatas (BWV49 and BWV169). This is the case, too, with the remaining concerto on the LP which is arrived at by a happy juxtaposition of three seemingly independent movements to two of which, at one time or another Bach afforded a prominent place to the oboe. The first movement (BWV1059), is performed according to the evidence of Ulrich Siegele who has demonstrated that this fragment is probably not, as has sometimes been supposed, a double concerto but a solo one for oboe. The second movement is much better known in its position as slow movement of the Concerto in F minor for harpsichord and strings, BWVI056 and, to a lesser extent but musically more effectively, as the sublime Sinfonia for oboe and strings to Cantata No. 156. Holliger opts for the ornamentation of the harpsichord version here, which seems a little perverse. The simplicity of the earlier version is one of its supreme virtues; alas, here, quite apart from ornamental issues, Holliger seems to have lulled himself into what I can only describe as excesses of Romantic effusion. We may, perhaps, envisage circumstances in life for which this sort of interpretation would provide a perfect rapport of harmony and mood. Sadly, the environs of my study, though by no means disagreeable, do not call forth such responses from within me. The finale is a reconstruction of a movement for solo organ and strings which, like the opening movement, occurs in Cantata No. 35. Two strong D minor movements, which very likely do belong together, flanking an entrancing and well contrasted one in F major, add up to a satisfying concerto. Fine playing from all concerned though not, in every instance, ideally suited to the requirements of the music. -- Gramophone [3/1984]