Texte paru dans: / Appeared in:

  39:6 (07-08 /2016)
Pour s'abonner / Subscription information
Les abonnés à Fanfare Magazine ont accès aux archives du magazine sur internet.
Subscribers to Fanfare Magazine have access to the archives of the magazine on the net.


Code-barres / Barcode : 0099925418823


Outil de traduction ~ (Très approximatif)
Translator tool (Very approximate)

Reviewer: Ronald E. Grames


This is an absolutely delightful release. Vilém Veverka, principal oboist of the Brno Philharmonic Orchestra, plays these six concertos with unfailingly lovely tone, a beautifully shaped, free-flowing line, and stunning technique which includes remarkable circular-breathing skills. In the Siciliano from the Bach Concerto in F, one simply has to hear to believe the long sections that he phrases as if in one breath. Amazing!

He is provided lively, alert support by the fine Czech Ensemble 18+, a chamber orchestra led by concertmaster Magdalena Malá, specializing in historically informed performance of primarily late 18th-century repertoire on modern instruments. Here they expanded their reach back a few dec­ades, with impressive results. Barbara Maria Willi, the fine harpsichordist, is as electrifying as the soloist, and is marvelously sensitive to the role of the keyboard in these various concertos. In fact, I was most struck by the subtle but sure distinctions in style and balance that were made between the playful Italian exuberance of Vivaldi, the transcendent formal logic of Bach, and the more austere brilliance of Telemann. And throughout, the beauty of the string tone, the unanimity of the ensemble, and intelligent use of limited vibrato and Baroque bowing were most impressive.

Veverka is joined in the Vivaldi Concerto for Two Oboes and Strings by his former teacher, Berlin Philharmonic English hornist Dominik Wollenweber. The two, perfectly matched, play with a velvety blend or in perfectly coordinated counterpoint. It is a joy to hear.

Sharp-eyed readers will have noticed the listing of two concertos of Johann Sebastian Bach in the headnote. Bach, of course, wrote no oboe concertos that have come down to us in this form. Happily, he did reuse compositions, and some canny musicological detective work, with some informed conjecture—by whom is not stated—has allowed the reconstruction of what might have been concertos written when Bach was Kapellmeister in Köthen. The fragmentary BWV 1059 Harpsichord Concerto—nine bars—provides the link to the sinfonias from Geist and Seele wird verwirret, BWV 35, which are used as the fast movements in the concerto reconstruction in D Minor, substituting oboe for the obbligato organ. The central slow movement is the opening oboe-led sinfonia from the cantata Ich steh mit einem Fuß im Grabe, BWV 156, widely thought to have come from a lost concerto. The Oboe Concerto in F Major is a transcription of the complete Harpsichord Concerto, BWV 1053, using the cantatas from which that work is constructed as a guide: the sinfonia and an alto aria from Gott soll allein mein Herze haben, BWV 169, for opening and slow movement, and the final movement using the sinfonia to Ich geh und suche mit Verlangen, BWV 49. The three concertos by Vivaldi, and the one by Telemann, are what they purport to be, though the RV 450 Concerto started life as a bas­soon concerto (RV 471) and was arranged for oboe, with changes to the solos, by the composer.

But, that bit of housekeeping done, let’s return to the main point. In a world blessed with many outstanding oboists, Vilém Veverka, who has released several excellent recordings on this Czech label, offers some of the finest playing it has been my pleasure to hear. And surrounded by colleagues equally gifted, he has created a recording, in first-rate sound, that easily joins the most valued that I have in my collection. Need I say, recommended?

Fermer la fenêtre/Close window


Cliquez l'un ou l'autre bouton pour découvrir bien d'autres critiques de CD
 Click either button for many other reviews