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|Appréciation d'ensemble / Overall evaluation :|
Jansen and friends include the
unusual Bach ‘double’
Most noticeable in the general concerto canvas is how Jansen’s quixotic, bold and spontaneous toying with Bach so often finds itself checked by her ‘friends’, whose detached, super-polite period-parody articulations are not dissimilar to Riccardo Chailly’s Baroque way with modern instruments. Maybe a new Decca house style is emerging here?
If this unyieldingly pesky and contained accompaniment represents something of a minor irritation, Jansen transcends a good deal through infectious musical curiosity, spinning the lines with irradiating glee in the last movements of both violin concertos. The dynamic contrasts of the E major (BWV1042) and the swagger in the A minor (BWV1041) make for thrilling experiences and, equally, she brings a rare blend of intensity and stillness to the slow movement of the former.
More tactile is
the double concerto, where warmth emanates from Ramón Ortega Quero’s oboe, if
not always settled intonation. The harpsichord, played by Jansen’s father in the
two sonatas, constitutes a solid support role rather than engaging in the active
complicity which these pieces really deserve. Jansen’s beguiling sound and
fluidity of phraseology is elegantly exhibited throughout (notably in the Adagio
ma non tanto of BWV1016). One just wishes that these fellow musicians could rise
a little higher to meet Jansen’s questing musical enterprise and imagination.