Swedish Chamber Orchestra (Svenska Kammarorkestern) 瑞典室内管弦乐团
Alina Ibragimova, violin 艾莉娜．伊布拉吉莫娃, 小提琴
Alexei Ogrintchouk, oboe 阿雷西．欧格林裘克, 双簧管
Maxim Rysanov, viola 麦可森．瑞沙诺夫, 中提琴
Alexei Ogrintchouk, oboe 阿雷西．欧格林裘克, 双簧管
Lithuanian Chamber Orchestra 立陶宛室内管弦乐团
Boris Brovtsyn, violin 波利斯．布洛夫钦, 小提琴
Leonid Ogrintchouk, piano 雷欧尼德．欧格林裘克, 钢琴
Format:SACD, Album, Hybrid, Multichannel
Original Release Date: November 16, 2010
Copyright: © 2010 BIS
Total Length: 1:04:10
Notes and Editorial Reviews
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
A standard which will be hard to beat.
As a glance at the titles for this release indicates, this is pretty much an album of reconstructions. In his learned and usefully comprehensive booklet notes, Geoffrey Burgess describes how Bach’s concertos for harpsichord can be shown to have had other intended solo instruments, the oboe in particular, in mind. Bach wrote more solos for the oboe into his cantatas than for any other instrument, and so the lack of concertante works for the instrument argues that several may have been lost or have only survived in other guises. This is especially the case when considering that renowned oboe players such as his brother Johann Jacob, and Johann Ludwig Rose and Caspar Gleditsch, would have been available at different periods in the composer’s life.
This is not the first recording of this kind, and those by Hans-Peter Westermann on Deutsche Harmonia Mundi and Burkhard Glaetzner on Berlin Classics are just a couple of other examples which overlap in terms of content. The first half of this programme is a fascinating collection, bringing disparate movements together to create new pieces. The booklet notes don’t go into much detail about these lower BWV numbers, but Bach’s early Weimar cantatas were certainly given enough challenging hautboy solos to give their unnamed performer plenty to get his teeth into. These amount to impressively substantial works which give a refreshing new look to some excellent music. The Adagio from the Easter Oratorio earns its place as a movement in its own right, its existence as a possible original slow movement of BWV 1055 having also been proposed by musicologist and oboist Bruce Haynes, so with this disc you can even do some reshuffling and find out which version you prefer for yourself.
Whatever the sources and arguments for re-creating and restoring what might be imagined to have been Bach’s original intentions, these performances are never anything less than entirely convincing. There are a few familiar movements, but hearing them in this context and played with such stylish expressive prowess as with Alexei Ogrintchouk there is no real sense of repetition or over-use of well known warhorses. The best known individual concertos are the final two on the disc, starting with BWV 1055. Even here there is variety built-in, Alexei Ogrintchouk taking the oboe d’amore, with its lower, richer tones. The lively tempi and crisp playing of the Swedish Chamber Orchestra, harpsichord continuo included, is very bright sounding, and these performances are all expertly done and beautifully phrased. The Double Concerto from BWV 1060 also works very well, the lovely refined solos of Alina Ibraginova’s violin winding their way around the Adagio lines of the oboe in a way which can seem quite sensual at times.
As we have come to expect from Bis over the years, the recording of this programme is superb. The oboe is close, but not beyond realistic balance and credibility, and the Swedish Chamber Orchestra is beefy enough to provide more than adequate backing. The SACD quality is fairly understated, developing clarity and sense of line with the increased spatial separation, but with a recording which also serves superbly in straightforward stereo. Alexei Ogrintchouk’s tone is attractively rounded, always expressive and beautifully phrased, and with an effortless and breezy way of taking flight with the music which makes him ‘invisible’ in technical terms, masterful in the way in which he leads the band in interpretations which I have a feeling will be the standard to beat for many years to come.
-- Dominy Clements, MusicWeb International
5.0 out of 5 stars Really Wonderful February 8, 2014
By J. R. Trtek
Bach borrowed some of this music from his keyboard concertos, adapting it for oboe or oboe d'amoure, but no matter which instrument gets to solo, it's all marvelous, and these renditions featuring the Swedish Chamber Orchestra with Alexei Ogrintchouk as both conductor and oboist -- and Alina Ibragimova with violin solos -- are breathtakingly beautiful to my untrained ears. The oboe sounds smooth and full, but with just the tad of bity to keep the listener on the toes. Another nice collection that overlaps somewhat with this one on Naxos, with Christian Hommel as soloist with the Cologne Chamber Orchestra under Helmut Muller-Bruhl, though the oboe playing on that disc strikes me as a bit less suave than Ogrintchouk's. This album, however, hits it right on all counts. Recommended.
Copyright © – BIS Records AB
Phonographic Copyright (p) – BIS Records AB
Recorded At – Örebro Konserthus
Design – Andrew Barnett
Directed By – Alexei Ogrintchouk
Engineer [Mixing] – Marion Schwebel
Engineer [Sound] – Michaela Wiesbeck
Executive Producer – Robert Suff
Liner Notes – Geoffrey Burgess
Liner Notes [French Translation] – Jean-Pascal Vachon
Liner Notes [German Translation] – Horst A. Scholz
Oboe [Soloist] – Alexei Ogrintchouk
Orchestra – Svenska Kammarorkestern
Producer [Recording] – Marion Schwebel
Score Editor – Christian Starke, Nora Brandenburg
Violin [Leader] – Katarina Andreasson
Violin [Soloist] – Alina Ibragimova, Reinut Tepp (tracks: 11 to 13)
℗ & © 2010 BIS Records AB, Akersberga
Recording: August 2009 at Örebro Konserthus, Sweden
Total Time: 64:16
SACD Multichannel Hybrid; DSD Direct Stream Digital
Alina Ibragimova appears on this recording with kind permission from Hyperion Records.
27 page booklet with English, German & French notes
Concerto In F Major For Oboe, Strings And Basso Continuo; Reconstructed From BWV 49 And 169 Arranged And Edited By Hermann Töttcher And Gottfried Müller 18:58
01. I. Allegro 7:29
02. II. Siciliano 5:07
03. III. Allegro 6:12
Concerto In D Minor For Oboe, Strings And Basso Continuo; Reconstructed From BWV 35 and BWV 156 By Arnold Mehl 11:40
04.I. Allegro 5:25
05.II. Adagio 3:00
06.III. Presto 3:08
07.Adagio From Easter Oratorio; BWV 249 4:08
Concerto In A Major For Oboe D'Amore, Strings And Basso Continuo; Reconstructed From BWV 1055; Edited By Wilfried Fischer 14:37
08. I. [No Tempo Marking] 4:13
09. II. Larghetto 6:06
10. III. Allegro Ma Non Tanto 4:12
Concerto In C minor For oboe, Violin, Strings And Basso Continuo; Reconstructed From BWV 1060; Edited By Wilfreid Fischer 13:26
11. I. Allegro 4:40
12. II. Adagio 5:30
13. III. Allegro 3:11