Switched on Bach;
the Swingle Singers’ Bach; Bach played by polka bands; Bach on saxophone,
trombone, vibraphone: Bach, Bach, Bach. And now, mandolin transcriptions. Who
wins? Bach!
Deutsche
Gramophone’s release of Mr. Avital’s auspicious debut recording of his own
transcriptions with the Potsdam Akademie showcase this musician’s formidable
technique. However, his arrangements and this recording suffer from
irreconcilable issues of balance: why is the mandolin replacing the keyboard in
the D and G minor Concertos, and the violin in the A minor? As provocative and
impressive as this concept is, it is unrealistic to deny that the mandolin is
not an instrument of projection, and seldom is the relationship easy between
soloist and orchestra in this dense contrapuntal music.
It finally proves exasperating to chase Mr. Avitar’s silvery
slivers of sound, no matter how appealing his sunny and moonlit Mediterranean
disposition is. His aggressive tempi in fast movements don’t help the ensemble and
despite the best efforts of the remarkably discreet harpsichordist, Shalev
Ad-El, the texture is often unclear.
Most successful are the slow movements, whose elegant and
subtly plucked arabesques prove nearly miraculous long legato lines. Most
affecting is the largo of the g minor concerto – the strings’ pizzicato pillow
sets perfectly the best of Mr. Avital’s singing. It would have been better to
fill out this recording with solo Bach – say, the Flute Partita?
With theorboist Ophira Zakai and cellist Ira Givol, the sonic
scheme of the E minor Flute Sonata was muddled, like dusty cobwebs in basements
instead of those in forests sparkling with dew. Despite all of his
accomplishments, Mr Avital’s restricted tonal spectrum make it difficult in
this album to discern his unique voice.
Nevertheless, he deserves a handshake and the best of luck.
Is the world ready for a classical concert mandolinist? Let’s
hope so.
Please read on to Chris Thile’s Mandolin Bach……
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