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Michael Carter
Fanfare, November 2011

The symphonies on this two-disc release are representative of the music heard in the Bach-Abel concerts as well as in the London pleasure gardens like Vauxhall. Each symphony is in the fast-slow-fast format of the Italian opera sinfonia…The most striking music is found in the odd-numbered symphonies in the op. 18 set…Both used strings, but the first added oboes and horns while the second supplemented the string section with flutes. The result must have been striking for the audience and still surprises with much effect today.

Gil French
American Record Guide, September 2011

Here’s wonderful, incredibly inventive music in performances that are simply the best…the unteachable magic element in music is having the right style. You’ve either got it or you haven’t. And here Zinman has it in spades, captured in the best engineering I’ve heard in ages—warm, ambient, natural, embracing, and best seat in the house.

To read the complete review, please visit American Record Guide online.

Rick Anderson
Baker & Taylor CD Hotlist, July 2011

This two-disc set appears to duplicate the one released by Philips as part of its “Duo” series in 1994; the recordings date from the mid-1970s. If your library already owns the Philips version, there is no need to replace it with this re-reissue by Newton Classics. However, this budget-line release offers an extremely attractive opportunity to any library that doesn’t already own these gorgeous recordings of exceptionally fine performances of brilliant pieces by Bach’s youngest (and most stylistically forward-looking) son. It’s rather difficult to believe that these recordings are as old as they are, and the pieces themselves are beyond delightful.

John Sheppard
MusicWeb International, June 2011

Many people’s reaction to the name J.C. Bach is, or at least used to be, one of “charming, but little more”. I wonder whether this reaction would have been the same if it were not for the implied comparison with the music of his father. If instead the comparison were to be with his contemporaries, even with the young Mozart or the Haydn of this period, I suspect that the verdict would have been much more favourable. The works on this disc are certainly full of charm, but there is also a solid musical imagination behind them, as well as the compositional technique you would expect from a member of this distinguished family. They may not reach the heights of Mozart or Haydn’s final works in this genre but they do have a character of their own which makes them in every way comparable in stature with the earlier works of those composers.

These two well-filled discs give the whole of three published sets of Symphonies. Not the whole of his Symphonies—that would need at least twice as many discs—but more than enough to show the scale and variety of his achievement. Only one is in a minor key throughout—Op. 6 No. 6 in G minor. It was published in 1770, three years before Mozart’s Symphony K183 and just after Haydn’s Symphony No 39, both in the same key. It has some similarities with the restless energy of those works, especially in its last movement, but its main glory is the slow movement, an Andante più tosto adagio for strings alone. This has a character that goes far beyond charm but is quite different to the comparable movements in Mozart’s or Haydn’s works. Listening to these Symphonies in succession—as I would hope normally only a reviewer might do, it quickly becomes apparent that even given such technical hurdles as a predominance of major keys, in particular of D and B flat major, and of three movement structures, the composer manages to produce a wide variety of character for both individual movements and for entire works. This is especially a feature of the Op. 18 set, three of which are written for double orchestra. Two groups of string players are supplemented by oboes and horns and by flutes respectively, giving additional opportunities for changes of texture of which the composer takes great advantage. These are an especial delight, with the slow movements as usual being especially characterful.

The performances and recordings on these discs are obviously of their period, but unless you insist on period instruments in the most up to date recordings you are unlikely to be disappointed with the results. They are fully comparable with recordings of similar works at that period by, say, the English Chamber Orchestra or the Academy of St Martin-in-the-Fields, and Zinman keeps a good balance between grace and forcefulness. For listeners wanting a good sample of J.C. Bach’s style these discs would make a good choice. David Threasher in his helpful notes reminds us that Mozart wrote to his father in 1782 “I suppose you have heard that the English Bach is dead? What a loss to the musical world!”. These discs make it clear how right Mozart was in that judgement. There is much enjoyment to be had here; charm certainly, but much more than that.

Hank Zauderer
My Classical Notes, May 2011

Johann Christian was the youngest son of Johann Sebastian Bach. His musical taste, melodies, and spirit are quite enjoyable in these symphonies from the 1760’s and later. J.C. Bach’s use of the old three-movement symphony form is always imaginative, and features attractive scoring for solo winds and strings. Some of the slow movements are certainly instrumental arias and very beautiful.

In all these symphonies, an energetic Allegro with a bold, attention-grabbing opening gesture leads to a slow movement, and a fast final movement, often in a brisk triple time or with dancing or hunting associations. It might have been these examples that led the eight-year-old Mozart to compose his first symphonies. Mozart often spoke well of J.C. Bach in his letters to his family. ‘I suppose you have heard that the English Bach is dead?’ he wrote to his father in April 1782. ‘What a loss to the musical world!’

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12:25:45 AM, 29 March 2015
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