Bach: Orchestral Suites No.1-4 (original versions)
Lars Ulrik Mortensen / Concerto Copenhagen (CPO)
(scroll down for English review)
摩頓臣指揮哥本哈根協奏團的這張巴哈管弦組曲全集，標榜是「原版」，到底原在哪裏？這套作品是他克騰時期的作品，但通用的版本是他在萊比鍚時期作最後修訂，他在《第三組曲》及《第四組曲》額外加入小號及定音鼓。這個錄音就是要回復原本的配器，《第三組曲》的分別最大，因為把雙簧管、小號及定音鼓都削去，只剩弦樂及通奏低音，也就是著名的「詠嘆調」（軌16）的配器。
此外摩頓臣這個錄音用了「一聲部一人」編制，以《第三組曲》為例，便只剩下兩支小提琴、中提琴、大提琴、低音大提琴及古鍵琴六人合奏，本錄音最多人的《第四組曲》，也不過是在那六人之上加三支雙簧管及一支巴松管，一共十人而已。
想是我們一直被「管弦組曲」這詞引導，覺得此曲就等於樂隊、樂團，即如《布蘭登堡協奏曲》也愈來愈多「一聲部一人」演奏，效果其實頗佳，我們觀眾也在一次香港國際室樂節的演出見識過了。
摩頓臣及哥本哈根協奏團此演奏，只用一張CD便裝得下四首組曲，主要原因是四個組曲的第一樂章（序曲）都沒有奏後半的重覆奏，到底是音樂或考據的原因，或者純粹是想一張CD全部裝下，就不得而知。速度是爽快，但又不會過分急趕，在室樂的前提下是很對的速度，用樂隊演奏就應該不行了。
至於減了樂器及「一人一聲部」所帶來的音色或平衡改變，首先我在《第一組曲》（軌一至七）覺得管樂（兩支雙簧管及一支巴松管）太過壓倒弦樂，但聽着聽着也開始習慣。《第二組曲》（軌八至14）的長笛獨奏更容易融入弦樂之中，反而比用一整隊樂隊更易做出獨奏及齊奏的分別。關心長笛的朋友，我覺得詼諧曲（軌14）不算標青，反而是在波蘭舞曲（軌12）變奏（Double）的獨奏頗有即興感覺。《第三組曲》（軌15至19）只剩弦樂，最能感覺到從樂隊變成室樂的變化，但我覺得附管樂的最終版應該不適合「一人一聲部」。
What does the “original version” tag mean in this new recording of Bach’s Orchestral Suites? It refers to reverting to the skimmed down version as Bach wrote them in Köthen. For instance, the oboes, trumpets and timpani of the Third Suite were gone, and the whole suite was played with just strings and basso continuo, which was the instrumentation of the beloved Air (track 16) as we know it.
Furthermore this Mortensen recording adopted the “one person per part” style. In the Third Suite it’s only two violins, one viola, one cello, one double bass and harpsichord, six persons in total. The Fourth Suite had the biggest ensemble, ten persons, the extra players were three oboes and one bassoon. As the booklet writer remarked we’ve been misled by the name “Orchestral Suites” in assuming these pieces are for a big orchestra.
The four suites were squeezed into one CD with room to spare. That was possible due to the omission of the second dacapo repeats in the first movements of each of the suite. Whether this decision was made for musicological reasons, or simply to avoid an extra CD, I don’t know. All in all, the tempi were brisk without being rushed. They were perfect for chamber music but not really for orchestral executions.
As for the impact of “one person per part”, the First Suite (tracks 1-7) struck me as too tilted towards the woodwinds (two oboes and one bassoon), but eventually I got used to it. Such setting allowed the flute in the Second Suite (tracks 8-14) a better navigation among the strings, and the differences between solo and tutti passages were more effective than in an orchestral setting. Instead of the Badinerie (track 14) I’d like you to pay attention to the Polonaise (track 12), of which the flute solo in the Double is highly improvisatory without being an improvisation. The Third Suite (tracks 15-19) was now strings-only and the switch from orchestral to chamber music was most intensely felt. Yet I don’t think the final version with trumpets would be suitable for “one player per part” style.