Two Performances of Ernest Bloch’s Concerto Grosso February 26, 2015 By Robin Parsons (Florence, MA) 'Max Rudolf states in The Grammar of Conducting that “a well-chosen tempo will make a variety of musical details fall into place.” Fundamental to the interpretation of any piece of music is a performer’s decision in the execution of the composer’s tempo indications. A slow tempo may allow a melody to breathe, to seem graceful, or it may make the music seem weighty and unable to dance. A quick tempo may contribute to poor execution of performer articulations, to blur details or to seem rushed. Or it may be exciting when executed well. Years ago, I brought home an EMI Angel vinyl recording of Ernest Bloch’s Concerto Grosso No. 1 for strings and piano obbligato. It was exciting in a way that other conductor’s interpretations weren’t.

There was something brisk and brash about it. Years of waiting for a compact disc release proved fruitless. So instead, I brought home Howard Hanson’s excellent reading on Mercury with the Eastman/Rochester Orchestra. Still, Sir Neville’s interpretation stayed with me. Imagine my surprise when I discovered this Warner Brothers release of Ernest Bloch works. What a joy to finally have a digital version of Sir Neville’s reading of the Bloch Concerto Grosso! On my first play in some time, it became apparent what first attracted me to Sir Neville’s reading.

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While the Howard Hanson reading is sonically superior, Sir Neville’s reading and the Academy’s performance is exciting, well executed and full of detail. Where Howard Hanson’s interpretation is stately and articulate, Sir Neville’s is athletic and articulate. Though Hanson surely is a persuasive interpreter of Bloch, he uses a slightly broader tempo than Bloch’s metronome indication in the opening movement. The Eastman/Rochester Orchestra was in essence a student orchestra, albeit a very good one, mind you. They play very well, yet the excellent sonic envelope of the recording does capture a string tone that is occasionally overdone.

Hanson is not alone in taking broader tempi with the Concerto Grosso. A quick survey of the opening movements of several of the major recordings available today shows a number of interpreters whose use of slower tempi ranges from Hanson’s slight broadening all the way down to a very slow moderato in the opening which makes the Prelude seem downright ponderous. That’s not so in Sir Neville’s capable hands. Sir Neville employs tempi (quarter note = 152) in the first and last movements that are slightly faster than Bloch’s metronome indications. The Academy matches these quicker tempi with aplomb like the practiced professional ensemble they are.

A case in point is the opening movement Prelude which is marked Allegro energico e pesante. Pesante translates as “with importance, impressively.” Energetic describes Sir Neville’s direction, as well as important and impressive. Sir Neville’s rhythmic pointing throughout the alternating 4 and 2 beat measures of the movement is excellent and builds in momentum toward a thrilling conclusion. In contrast the two central movements, Dirge and Pastorale and Rustic Dances open with broader tempi. Dirge is lovingly caressed by the Academy, yet the string tone is not over-ripe with romantic interpretation. This is, after all, a Concerto Grosso in a classical style.

Dirge concludes with a lovely pianissimo. The third movement of Pastorale and Rustic Dances builds from an opening Assai lento gently but empathically toward an Allegro giocoso taken at a slightly quicker tempo. The final movement Fugue is also taken at the same quick tempo as the opening Prelude and is breathtaking from the first measure to the last. I’ll keep my Hanson recording, but I am quite happy to have Sir Neville’s as well on this Warner release. This Warner release is also an excellent introduction to Bloch’s music.

It includes Menuhin’s version of Bloch’s neglected Violin Concerto with Paul Kletzki and Rostropovich’s reading of Schelomo, Bloch’s signature work, with Leonard Bernstein as a persuasive advocate. On performance merits alone, Menuhin won’t surpass Szigeti’s fiery reading, and Rostropovich is outshone by Nelsova, but there is nothing to be ashamed of in either performance. Only Abravanel’s Avodath hakodesh shivers mightily in the shadow of Bernstein’s towering interpretation. Still, it is a good introduction to Bloch’s Sacred Service. For those interested in exploring the music of Ernest Bloch, you need not fear treading here.