A Brilliant Tapestry of Sound: H+H’s performance of Bach’s Brandenburg Concertos

From Feb. 21 to Feb. 23, the Handel and Haydn Society (H+H) presented a masterful performance of Johann Sebastian Bach’s complete “Brandenburg Concertos” at Harvard’s Sanders Theatre and New England Conservatory’s Jordan Hall. Under the spirited direction of Aisslinn Nosky and Ian Watson, the ensemble delivered an exhilarating interpretation of these iconic works, showcasing the vibrancy, balance, and intricacy of Bach’s compositions.

The Brandenburg Concertos, which Bach originally titled “Six Concertos with Several Instruments,” stand as some of the most beloved works in the Baroque repertoire. Ironically, these pieces were never performed during Bach’s lifetime, yet today, they serve as a benchmark for virtuosity and ensemble collaboration. Each concerto offers a unique musical vignette, filled with joy, satisfaction, and remarkable counterpoint.

The performances by H+H exhibited a seamless interplay between solo groups and the ensemble, with brass, woodwinds, strings, and double reeds weaving intricate dialogues. A hallmark of the concert was the shifting attention between instruments, each passing melodic lines in a pattern of echoing motifs and ritornellos. The recorder’s introduction of the trumpet in “Concerto No. 2 in F Major” was particularly striking, as one instrumental introduction perfectly led into another. The violin introduced a theme that was then echoed by other instruments, delivering a strong performance that highlighted Bach’s gift for intricate and complex counterpoint. The unusual soloist pairings, such as recorder and baroque trumpet, brought a fresh timbral contrast, while the performers showcased their technical finesse, particularly in breath control and phrasing.

The first movement of “Concerto No. 1 in F Major” was a study in balance and energy, with Susanna Ogata guiding the ensemble through the interwoven lines with her elegant and dynamic playing of violino piccolo. As the movement progressed, the performance blossomed into pure joy. The second movement featured two horns that provided a highly structured and precise foundation, with moments of quiet introspection in the horn and oboe solos, all beautifully coordinated by Watson.

The joyous opening of “Concerto No. 5 in D Major” was distinctly Baroque in style, with the flute adding an ethereal quality that evoked a sense of serene detachment. The flute’s ascending notes created a wavy, almost eerie effect, contrasting beautifully with the harpsichord’s expansive solo. The harpsichord cadenza was a highlight, as Watson navigated a large-scale passage with commanding precision before seamlessly directing the ensemble back into the texture. In the second movement, Nosky’s violin echoed delicately with the harpsichord, while the flute and violin engaged in an intimate, circular exchange, creating a mood of introspection akin to legendary storytelling. The final movement erupted with joyous energy, engaging the audience in a dynamic interplay between instruments and highlighting the sheer enjoyment of the musicians.

Nosky led the strings with clarity and precision in “Concerto No. 3 G Major,” maintaining a coherent voice throughout. The solo lines passed seamlessly in a semi-circle, creating a mesmerizing spiral effect. Nosky’s own solo was breathtaking, alternating between tempos and infusing the performance with her infectious joy and personality. Her charisma as concertmaster was undeniable, bringing a distinctive vibrancy to each performer’s interpretation. It was as if each instrument had its own voice, contributing to an animated and eye-catching performance.

“Concerto No. 4 in G Major” highlighted high-range instruments, with the recorder’s bright tone blending exquisitely with Nosky’s virtuosic violin solo. The second movement was particularly enchanting, with long-held recorder notes set against the violin, creating an ethereal, dreamlike quality. The rapid passages were executed with precision, showcasing the ensemble’s cohesion and dexterity.

With a viola-driven texture, “Concerto No. 6 in B-flat Major” presented a continuous and fast-paced dialogue. The second movement offered a more subdued contrast, featuring expressive communication between the two violas. The interplay of long-held notes against shorter, precise articulations created an elegant ebb and flow, leading seamlessly into the final movement’s celebratory atmosphere.

The concluding moments of the performance filled the theater with great delight, as the musicians’ sheer enjoyment became evident in the infectious energy they brought to the stage. The Brandenburg Concertos demand not only technical brilliance but also deep musical communication, and the H+H musicians delivered both with confidence and joy. The audience’s enthusiastic standing applause underscored the success of the evening — a true celebration of Bach’s timeless genius. Overall, the balance between individual artistry and ensemble unity made for an unforgettable and resonating experience.

—Staff writer Dailan Xu can be reached at dailan.xu@thecrimson.com. Follow her on X at @Dailansusie.