BACH: Violin Concertos in a, BWV1041; E, BVW 1042; G, BWV 1056b; Double Violin Concerto in d, BWV 1041 – Elmar Oliveira, violin/ Eva Gruesser, violin/ Arco Ensemble – Artek 0054, 63:24 **:
This is a concert performance of the traditional two concertos plus the double, with the addition of a G-major work originally from the F-minor Harpsichord Concerto (with the famous slow movement) whose outer movements may have come from a piece designated for violin. These sorts of adaptations are now commonplace as we really don’t know the origins of so many of these works, and they seem to work fine no matter which instrument is used.
But the competition in this area is really fierce, with umpteen versions available from all manner of famous soloists. I am afraid that Oliveira’s renditions simply don’t approach the best-of-breed in this market. The sound on this disc is quite bright; these are very traditional readings almost to the point of being throwbacks, and I am not sure how many people will respond positively to them since there are so many others of this style currently available. Oliveira’s rich, calorie-laden sound with fat speedy vibrato has an attraction all of its own, but there is a discrepancy between it and the rather ascetic, and sometimes not-always-together ensemble tonality of the group Arco. This makes the soloist sound very spotlighted, and the result is a concert designed to show off the performer without any real attempt at an integral and unified conception of the “concerto” nature of these works. Even in the Double Concerto, despite the fine playing of Eva Gruesser, she is forced into the background by the sheer overwhelming musical presence of Oliveira.
Oliveira has made some sensational recordings in the past—his Barber Concerto comes to mind immediately—and is a very fine player whose contributions cannot be underestimated. But with so many alternatives out there—not the least of which are those early ones by Anne-Sophie Mutter and recent vintages like Lara St. John—all of which are more up-to-date in style and execution, this one becomes something of a curiosity for Oliveira’s fans only. If you are new to this music, stick with St. John for a marvelous introduction.
— Steven Ritter
