Big Boned Bach at the CSO

This past weekend at Symphony Center, culminating in tonight’s performance, was a veritable orgy of orchestral music from that greatest of composers, Johann Sebastian Bach. It is hard to imagine a time when his music was not well-known and virtually memorized, but such a time existed right after his death. Thank God for Felix Mendelssohn Bartholdy who resurrected the world’s interest in that baroque genius. The planet has been in awe of his staggering abilities ever since. Countless audiences have been awarded with imaginative and stunning performances of his music ever since as well. These performances, with members of the Chicago Symphony Orchestra, led by Pinchas Zukerman, can stand with the pack as solid if not completely satisfying.

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Tonight’s fare included Bach’s Overture No.1, Violin Concerto No.1, the Oboe & Violin Concerto and the Brandenburg Concerto No.2. If you are a fan of Bach, there is no way you would want to miss that line-up. I actually heard some of these same pieces this year with Chicago’s Baroque Band, a truly baroque-sized ensemble. As Zukerman strode onto stage in his flowing shirt and black slacks, he took his position as concertmaster for the Overture. The CSO was obviously slimmed down, but what remained was still quite substantial. The violins numbered 16, the violas 6, cellos 4, basses 3. Given that much sonic strength, the small harpsichord was barely audible. For comparison, the Baroque Band’s performance numbered about 15 total. The large orchestra provides added volume in the large space of Orchestra Hall, but it made the ensemble much less flexible. The Suite was played slowly and without any additional filigree. The only liberties Zukerman took was to determine how many strings should play at any one point. It was very effective in some movements, but also distracting, especially as the two oboists took turns contributing to the sound, doubling the strings. Both would play, then the second would drop out and fix her reed, only to take it up again several bars later as the first oboe stops. It seemed to be done almost at random. But, like most things in life, once you’re used to the larger sound, at its new plodding pace, the performance was okay. I preferred Baroque Band’s, complete with period oboes and bassoon – no cheating.

Zukerman, wearing both hats as violinist and director, was much more involved in the performance of the Violin Concerto in A minor. His tone was strong with little affectation. Bach would have been proud. The middle movement was especially effective, beautiful even. Zukerman told a compelling and melancholy tale, with a sound full and resonant without much vibrato. He left no time for contemplation however as he immediately moved into the last movement. A small quibble.

Admittedly, the concerto for oboe and violin is one of my favorite works of Bach. Eugene Izotov was the oboist and Zukerman violin. The slower paces were killing me. It’s as if the only reason for them was to make the concert last longer. Realistically, there was only about seventy-five minutes of music in this concert. Nevertheless, there were moments of admirable beauty. The slow movement is a highlight in all of Bach’s music, and it was taken on with aplomb by the soloists, even if there wasn’t a lot of connection between the players. The final movement was much better, quick and exciting with wonderful playing all around, especially by Zukerman.

As a final gesture of admiration for the orchestra, Zukerman gave his violin duties to CSO concertmaster Robert Chen, who was joined by Jennifer Gunn, flute, Eugene Izotov, oboe and Christopher Martin, clarino trumpet, for a performance of the Brandenburg Concerto No.2. It got off to a rocky start as the long dormant Martin missed his high notes. He was sitting around far too long. He played much more quietly for the remainder of the performance. Actually, I felt everyone did. There wasn’t much vigor, even if they all played smartly. The concert was as much an opportunity for Zukerman to perform as for members of the orchestra to shine, and they did albeit dully at times.

Listening to music from the baroque era can be rare in the traditional concert hall. With the exception of large choral works, you aren’t likely to hear much. I think that’s okay if your city has baroque ensembles. I know Seattle does and so does Chicago. Although tonight’s performance was nice and dependable, it lacked the intimacy and daring music-making that can happen with a smaller group. I missed that in these performances. When I want to hear Strauss and Brahms, I am heading for the Chicago Symphony Orchestra. When I want to hear Bach however, the CSO will find me absent, as I am in my seat at the Baroque Band or Music of the Baroque.