jerusalem symphony 88 29.
(photo credit: Courtesy)
Two Bachs and One Vivaldi
In the Jerusalem Baroque Orchestra’s recent concert, Shalev Ad-El’s interpretation transformed the Allegro assai (“quite fast”) and Allegretto movements of Carl Philipp Emanuel Bach’s Symphony No. 182/3 into a hasty, breathless Presto, substituting the stately elegance of the Hamburg Hanseatic grande bourgeoisie with Israeli nervosity and impatience.
In J.S. Bach’s Concerto for harpsichord BV 1055, soloist El-Ad’s playing was deplorably almost inaudible.
El-Ad, a harpsichordist who also conducts, also let himself be carried away by the orchestra instead of restraining it in Vivavldi’s “La Notte” Flute Concerto
, and Jan de Winne’s solo was overshadowed as a result.
Only in the orchestra’s rare calm moments was it possible to enjoy the
flute’s lyrical, lovingly shaped melodic passages and the threatening,
dramatic ones of the imaginary night phantoms.
In J.S. Bach’s concluding Concerto for Flute, Violin and Harpsichord
instrumental balance was finally achieved. This allowed one to be duly
impressed by the brilliant virtuosity of El-Ad’s harpsichord, the
singing sound of de Winne’s flute, and Dafna Ravid’s baroque violin
blending in harmoniously with her partners.