Pinnock Group’s Hard-to-Hear Nuances

Marshall McLuhan wasn’t thinking of period instruments when he made his remark that “the medium is the message.” But that thought came to mind during the performance of all six Bach “Brandenburg” concertos by Trevor Pinnock and his English Concert on Thursday at the Orange County Performing Arts Center in Costa Mesa.

The playing of this renowned period instrument group seemed largely determined by the physical nature--or some might say limits--of their soft-toned instruments.

A certain democracy of ensemble prevailed because no group or even soloist could predominate over the others. On the positive side, this led to light, balanced and transparent textures. Yet it resulted in a frustrating number of moments of watching but not hearing their efforts.

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It also led to pressureless, unaggressive and dynamically constricted performances, an art of nuance and miniaturization.

The tendency to use the full length of the bow, when not restricting it to a bouncy attack, led to a falling off of dynamic at the end of a phrase. This resulted in a rocking-horse, seasick lilt, particularly in the First Concerto. The winds, too, fell into this pattern although there didn’t seem to be a physical reason for it.

Pinnock divided the six concertos in half, leading the odd numbered ones in the first half of the program and the even numbered ones in the second.

The order was Nos. 1, 3 and 5, and Nos. 4, 6 and 2. The puckish harpsichordist-conductor introduced several of the concertos from the stage.

Many of his soloists, particularly violinist Rachel Podger and trumpeter Mark Bennett, showed they were virtuosos. But their playing lacked individual interpretation.

Perhaps McLuhan’s stricture doesn’t hold universally when applied to early music. We have heard more vital and personal performances on period instruments by groups such as Nicholas McGegan’s San Francisco-based Philharmonia Baroque Orchestra--but in smaller houses.

Perhaps it wasn’t the greatest idea to present the English Concert in a 3,000-seat house.

Still, greeted throughout with enthusiastic applause, the group repeated the final movement of the Second “Brandenburg” as the single encore.

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* The English Concert repeats the “Brandenburg” Concertos, Sunday at 4 p.m., Royce Hall, UCLA. $11-$40. (310) 825-2101.