Texte paru dans: / Appeared in:
BBC Music Magazine (09/2019)
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Appréciation d'ensemble / Overall evaluation : ½  

Reviewer: Martin Cotton

It’s interesting to hear Bach’s A minor Violin Concerto in the context of contemporary German works, even though the performance isn’t always engaging.

Downbeats tend to be over-accented, especially in parts of the slow movement, where the detached style works against the long melodic line. There’s technical assurance in Thibault Noally’s playing, but not always time for imaginative detail, and ensemble could be tighter in the faster music. The same applies in Bach’s G minor Concerto, and in the Förster, which sometimes threatens to run away with itself.

Noally is joined by oboist Emmanuel Laporte in concertos by Heinichen and Fasch. It’s a pity that the Heinichen is confined to only one movement: it’s shaping up to be a more interesting piece than the rather formulaic Fasch. But Laporte and Noally make a well-balanced pair, even if there’s some suspect tuning at times.

Sébastien Marq’s recorder has the same virtues and problems in Graun’s Double Concerto, but he’s an elegant player, with a good edge to his attack, and an attractive way with shaping the melody in his duet with Noally in the Adagio. Balance is more problematic for Jean Brégnac in the Telemann Concerto for Violin and Flute, especially in louder passages, but its five movements latch onto more memorable material, and know exactly when to stop, as does the same composer’s Concerto for Two Violins. The first movement is full of rhythmic ambiguity, and, if you blink, you could miss the Adagio and Vivace: style and balance here from Noally and Claire Sottovia.


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