BACH DOUBLE CONCERTO: the other violinist
Why is the other soloist so often ‘hidden’ in the credits on recordings? I listened this morning to the (magnificent) recording of Bach concertos by Oscar Shumsky with the Scottish Chamber Orchestra, and realized that I didn’t know the name of the second soloist. It proved to be John Tunnell, founder leader of the SCO, but his name does not appear on the case or in the notes that accompany my copy, which was a freebie from Amadeus magazine. The oboist in the C minor concerto is similarly ignored. Disgraceful!
Once locked into a Google hunt, I found the LP cover of the Menuhin/Ferras recording in mono, that was mine in the 60s: Christian Ferras’ name appears in much smaller billing than Menuhin’s but at least it’s there. Incidentally, I also noticed that Spotify credits JS Bach for “song and lyrics” of the D minor concerto. Does anybody have a copy of the words? Please forward them: I’ll learn them over the summer.
I find it equally objectionable when a violinist (no names..) insists on playing BOTH parts.
Suzuki's first notable student was Koji Toyoda, who recorded the 2nd violin part with....Arthur Grumiaux.
King David recorded this with his son Igor and they got equal size pictures on the album cover.
@Paul - that's Divine David, not King David. He recorded a number of pieces with his son including Mozart's violin/viola duos and the Sinfonia Concertante. He played viola on all those wonderful recordings (which I have). For the Bach Double, I have a recording with Stern and Perlman. It is a Stern CD of all the Bach concerti, but Perlman certainly gets as much credit for the Double.
Haven't noticed that to be honest.
I think what the OP means is that the "main star" will have his name very large on the album cover and the "lesser violinist" will be in much smaller type or not even on the front of the album. What I see, however, is that this generally happens on recordings where the "main star" is also playing other works, such as the Bach A minor and E major concertos, or other double and/or triple concertos.
After all, there is limited area for printing on a 4.5 inch square or disk.
The famous (I guess) "east meets west" recording of Menuhin and Oistrakh on youtube is another example where the piece is used as a vehicle, this time political rather than promotional. In the largo ma non tanto the two haven't even got together and agreed about the bowing. And while Oistrakh seems very comfortable with the slow tempo, Menuhin shows signs of wanting to push on.
King David, Prince Igor.
I keep returning to this wonderful performance:
Very refreshing after Menuhin and Oistrakh, although we don't get to know either of the soloists' names! Yes of course, we can find out from youtube; they were Shunske Sato and Emily Deans. Among period instrument recordings I also like the one by Andrew Manze and Rachel Podger in which they add a few cheeky embellishments. I did the same myself once, when I and my then-partner decided to arpeggiate the chordal passages in the finale. The conductor, Ruth Gipps, wasn't entirely convinced.
@Stephen - LOL
It's a good idea to let your conductor know if you're going off script.
That’s true Paul, but what are conductors’ rights in the world of the Bach D minor double?
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