Bach: Violin Concertos (CD review)

Thomas Zehetmair, violin; Amsterdam Bach Soloists. Brilliant Classics 94666.

This disc has a lot going for it. Thomas Zehetmair is a world-renowned violinist; the Amsterdam Bach Soloists comprise a little over a dozen players from the Amsterdam Concertgebouw Orchestra; and while they perform on modern instruments, they adhere largely to historically informed performance practice. Thus, we get the best of all worlds: world-class playing; smooth, mellifluous sound; and convincing interpretations.

Bach wrote his two Violin Concertos, No. 1 in A minor, BWV1041 and No. 2 in E major, BWV1042, somewhere between 1717 and 1723, around the same time he was writing the Brandenburg Concertos, so if you hear any similarities, especially in the opening of 1042, you know why.

The program begins with BWV1042, which is probably the earlier of the two concertos, despite its catalogue number. Zehetmair and his players perform it in a lively style, with great flair; the ensemble is precise and spirited; and the reading remains animated without resorting to breakneck speeds. In the slow middle movement Zehetmair sounds lyrically refined; and in the final movement the whole group play as one, with an excellent, uniform response, exuberant and fun.

The program continues with BWV1041, which is probably the last of the specifically named violin concertos, again despite the catalogue number. Here, the entire ensemble begin the main theme, with the soloist quickly taking the lead. Zehetmair tackles it playfully, darting in and out of the accompaniment with a fleet ease. The tutti and solo parts alternate rapidly, and everyone involved appears to be on the same page in terms of the overall joy they bring to the music. In the Andante we find a more solemn or sedate mood, still played with much character. Then comes the finale, possibly the most virtuosic of all the music, with Zehetmair and company in full command. These are first-rate performances in every way.

Accompanying the two violin concertos are two violin arrangements reconstructed from harpsichord concertos, the Violin Concerto in D minor BWV1052 and the Violin Concerto in G minor BWV1056. Since Bach often reused his own material--re-arranging things for other instruments--it is quite possible that he initially wrote these two concertos for the violin in the first place and later transcribed them for harpichord. Whatever, they sound as though Bach had written them specifically for the violin, which is all that counts. Whether or not these transcriptions sound as Bach might have intended or if Bach even wrote the harpsichord concertos themselves is of little consequence when one hears how well Zehetmair and the Amsterdam Bach Soloists perform them. There is an air of authority about the music that pronounces all of it right and proper.

Yes, I would rather the coupling had been the usual Concerto for Two Violins, BWV1043, that we hear so often on these discs, but that’s neither here nor there. We have what we have, and it’s plenty good enough. And, besides, there’s that exquisite Largo in 1056 to consider.

Originally recorded at Waalse Kerk, Amsterdam, in 1994 by Edel Classics and released on the Berlin Classics label, Brilliant Classics have re-released it in 2013. The sound is quite transparent, among the best I’ve heard in these works. It’s a small ensemble so we might expect as much. The miking catches the solos in clear, vibrant, natural sonics, without the violin being too far forward. Good dynamics and a quick transient response contribute to the lifelike effect, along with a realistic tonal balance and a fairly wide stereo spread. Like everything else about the recording, the sound is practically ideal.

To listen to a brief excerpt from this album, click here:



  1. John! I was going with a simple post of something like"Yeah, Bach IS bitchin!", but Moms says that would be an embarrassment,sooo....
    Congats on your 1000th!

  2. David is referring to this being post number one thousand, a milestone for the site.


Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa