Johann Sebastian Bach (1685-1750)
The Complete Violin Concertos
James Ehnes (violin)
National Arts Centre Orchestra
rec. 2023/24, Southam Hall, National Arts Centre, Ottawa, Canada
Reviewed as lossless download
Analekta AN28893 [126]

I suspect that not many would correctly answer the question “How many violin concertos did Bach write?”. Indeed, there may not be a correct answer, as the history of Bach’s concertos is somewhat shrouded in mystery, and for some it is not clear what instrument(s) they were originally written for. According to this recording, there are eight, evenly split between solo and with other instruments. Many, myself included, will know BWV1052, 1056 and 1064 better in their keyboard versions.

My introduction to the Bach violin concertos was the classic recording by Arthur Grumiaux, which of course predated the HIP movement, and to 21^st century ears, does sound a little anachronistic. However, there is no denying the beauty of the performances, and they still provide me with a great deal of pleasure. If I want to listen to a more modern view of this music, I turn to the magically alive and joyful recording by Alina Ibragimova on Hyperion (review). She also gives us a fifth solo concerto: an arrangement of BWV1055, most likely originally for oboe d’amore and then harpsichord. It is not obvious whose arrangement it is, but I see that Rachel Podger also includes it on her recording, so it does slightly complicate whether the Ehnes set is truly complete.

Where do the Ehnes performances sit, relative to Grumiaux and Ibragimova? Surprisingly for a 2020s recording, I would say they are closer in spirit to the Belgian. Ehnes’s playing is elegant and quite restrained. The orchestra is larger than a chamber orchestra with twenty or so strings, and sounds more like a symphony orchestra. In this music, I’m not sure that is a plus. There is no harpsichord, nor any real nod to the last fifty years of historically informed performance. Tempos are moderate, as shown below, and even when not much slower than Ibragimova, it sounds like they are.

The readings are smooth and assured but, and it pains me to say it, somewhat bland, compared to the characterful and vivacious Ibragimova and the poetic and noble Grumiaux. The best performance is that of the double concerto for violin and oboe. There is more vitality here, but a lot of that is due to oboist Charles Hamann, who is outstanding, though possibly placed too far forward in the recording so that James Ehnes is rather obscured. Of the solo concertos, BWV1052 fares best. The reading here is quite convincing, though I still prefer Ibragimova’s, though if truth be told, the keyboard version is still better, especially that of Beatrice Rana, one of our 2025 Recordings of the Year.

As you can tell, I was rather disappointed by this. James Ehnes is one of the premiere violinists of his generation, and I’d expected more character from the performances. This release may tick the box for a complete set, but it does not excite or enchant.

David Barker

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Contents
Violin Concerto in E major, BWV 1042
Concerto for Flute, Violin, and Harpsichord in A minor, BWV 1044
Concerto for Oboe and Violin in C minor, BWV 1060R
Violin Concerto in D minor, BWV 1052R
Violin Concerto in A minor, BWV 1041
Concerto for Two Violins in D minor, BWV 1043
Violin Concerto in G minor, BWV 1056R
Concerto for Three Violins in D major, BWV 1064R

Other soloists
Joanna G’froerer, flute
Luc Beauséjour, harpsichord
Charles Hamann, oboe
Yosuke Kawasaki, Jessica Linnebach, violin