None of these reconstructions are included in Teldec’s Bach 2000, although the better-known ‘originals’ obviously are. The real newcomer is the Sinfonia, BWV1045 (5'34'') ‘to an unknown cantata’ which – as befits a BWV number that immediately precedes the First Brandenburg Concerto – is rumbustious, festive and thematically likeable. Time and again I could sense allusions to other Bach instrumental pieces, though the soloist’s ceaseless arpeggiating is sometimes a distraction. We’re told it’s authentic (the manuscript source suggests a violin concerto in the making) but something about its harmonic language doesn’t quite ring true, though that reaction might well be due to lack of familiarity.
When a plague threatens mankind, a chainsaw-handed hero reluctantly re-ups to save the world in this sort-of sequel to the 1981 cult horror film.
A 19th-century ‘trio sonata’. Isabelle Faust and Alexander Melnikov have already given us an acclaimed version Brahms’s First Violin Sonata, in 2007. They now complete the cycle with the other two sonatas of 1886 and 1888, and add a fascinating rarity dating from 35 years earlier: the ‘F-A-E’ Sonata, a collaborative effort by three composers in honour of the great violinist Joachim, who had to guess who had written which movement! He did so with ease, for the Scherzo is as eminently Brahmsian as the Intermezzo and Finale are Schumannesque. Alexander Melnikov will be contributing his take on a score his mother gave him that belonged to Sviatoslav Richter in September BBC Music Magazine.
This imaginative staging of Berlioz's dramatic symphony for chorus, soloists and orchestra relies heavily on the moving of massed choirs across a large stage. It has vivid lighting effects–rather too many of them using strobes–and monolithic multi-purpose sets, in particular a revolving glass drum which functions both as cinema screen and rostrum for singers, so that the final ride to Hell, for example, is sung by Mephistopheles and Faust above a cavalcade of projected horses, like the inside of a zoetrope. The three main soloists have voices on a scale that can compete with these flashy production values–White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. (Roz Kaveney)