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Fanfare Magazine: 38:4 (03-04/2015) 
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DG 4792479



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Reviewer:  Peter Burwasser

The lush tonality, relaxed tempos, and big sound of this Bach seems anachronistic in our age of period instrument performances and musicological rigor. And yet I hesitate to be judgmental. I certainly don’t have the authority, in an academic sense, to question the authenticity of this music-making, and doubt the ability of even a trained scholar to do so, ultimately. Like millions of Bach lovers around the world, I discovered much of his music via big band recordings from the likes of Marriner and Muchinger, and I still find the bloated readings of Klemperer to be strangely moving. But I do have a preference at this time for Bach’s orchestral music played on period instruments in smaller ensembles. It is not a question, for me, of authenticity, but of musicality. The more biting tonality and lithe texture that the best period players bring to this material draws me closer to the music.

This is a side discussion, in a way, for this release is essentially a showcase for the Georgian violinist Lisa Batiashvili, with the music of Bach as the medium of choice. She surrounds herself with musical friends on this omnibus of works in various ensemble sizes, including her husband, oboist François Leleux. Given the homey feel of the production, and the wonderful music, it seems churlish to criticize this CD, but I really could not get excited by what I heard, even after multiple auditions. Batiashvili is one of the most acclaimed young violinists on the scene today, but I find her playing to be rather glib, at least in this Baroque material. Her technique and tonal production are very fine, but her interpretations sound one emotional layer above the heart of the music. The big test here is the solo violin music, and with Batiashvili’s high level of polish and the sheer magnificence of the music, it is hard not to be moved by her performance. But when compared to, say, the supreme eloquence of Szeryng, or the daring drama of Kremer, it becomes clear that there is much more to discover in this great music.

Another disappointment here is the quality of the recording itself. In the pre-digital age, Deutsche Grammophon was the gold standard for sound quality. What happened? This CD sounds gauzy and lacking in presence on my Spendor floor standers. I was frankly astonished at how off-putting this production is, to the point that it had a major influence on my evaluation of the music-making. Batiashvili is clearly a sincere and immensely talented musician, but this particular outing is not an especially convincing calling card.

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