Review: 'Bach' - Nemanja Radulović, Double Sens (2024)

A year ago, I enthusiastically reviewed these musicians’ recording of Beethoven’s Violin Concerto, so I was eager to hear their return to Bach, after a previous album for Deutsche Grammophon (2016). The program begins with a transcription of the ‘Siciliano’ from the Flute Sonata in E-flat Major, showcasing Radulović’s (and Bach’s) gorgeous lyricism.

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Next is the Concerto for Oboe and Violin in C Minor, where Radulović complements oboist Sébastien Giot’s tone and color beautifully. However, despite their technical brilliance, I found that precision and clarity of articulation often took precedence over emotional depth. The slow movement’s aching sadness, for instance, lacks the richness and poignancy conveyed in performances by Isabelle Faust with the Akademie für Alte Musik Berlin (Harmonia Mundi) or Janine Jansen with a group of friends (Decca), the latter being particularly touching.

This imbalance carries over to the E-Major and D-Minor concertos. Radulović and Double Sens display remarkable technical command—flawless intonation and crisp articulation at any tempo. Radulović’s selective use of vibrato as ornamentation adds a touch of flair, and the outer movements bristle with energy. Yet, the orchestral accompaniment often feels straightforward, lacking the imaginative phrasing and dynamic color found in recordings by Faust, Jansen, or Alina Ibragimova with Arcangelo and Jonathan Cohen (Hyperion).

These alternative interpretations bring a sense of dance, bristling energy, and seduction, along with subtle expressive nuances that are less evident here. Radulović’s approach, by contrast, feels more uniform: his bowing, so varied and engaging in Beethoven, remains lithe and slender here, with little rubato in fast movements, resulting in a breathless insistence.

Before the E-Major Concerto, Radulović performs a viola transcription of the opening movement of Bach’s Cello Suite No. 1. While beautifully shaped, it misses the darker timbres of the cello. Greater expressive freedom can be heard in the renditions by Yo-Yo Ma (Sony, 2018) or Pieter Wispelwey (Channel Classics).

The program also includes Erbarme dich from the St. Matthew Passion, performed by countertenor Philippe Jaroussky. While touching, it does not match the emotional depth of interpretations by Magdalena Kožená (Archiv) or Angelika Kirchschlager (Sony). The program concludes with the “Badinerie” from the Second Orchestral Suite, played at an exceptionally brisk tempo (1’14”). While technically flawless, the humor alluded to in the liner notes is scarcely felt.

In summary, these are performances of technical perfection, marked by precision and virtuosity but often at the expense of emotional resonance and expressive depth. By comparison, the aforementioned recordings achieve a more compelling balance between technical mastery and heartfelt interpretation, supported by imaginative ensemble work. I would also recommend Katie Debretzeni’s readings with the English Baroque Soloists and John Eliot Gardiner (reviewed here).

While Radulović fans won’t need my encouragement, if I were to recommend one recording of this repertoire, it would be Faust’s comprehensive Harmonia Mundi set, which not only includes all the violin concertos but also features the Second Orchestral Suite, the Third and Fifth Trio Sonatas, and selected cantata movements.