They State Their Cases With Passion

As his legend has it, violinist Kennedy willfully mixes virtuosity and irreverence, defying what he deems stodgy classical conventions and presenting Ellington and Hendrix alongside standard repertory. With Bach, though, the bad boy is on good behavior, paying timely homage to the Baroque master in ways both respectful and fervent. Kennedy playing Bach is a measured and passionate listening experience. As such things go, this is fairly lusty Bach, played with heft and drive by the violinist and the Berlin Philharmonic. Kennedy, who is both soloist and conductor, hardly approaches the music with cool, period-minded restraint. Instead, he is an engaged soloist, wringing expressive life from the scores with a sometimes post-Paganini intensity, though never to the detriment of the music.

On the program are the Violin Concerto in E, BWV 1042 and Violin Concerto in A minor, BWV 1041, with Kennedy’s fleeting improvisatory moments tucked into otherwise faithful readings. He isn’t always intent on seizing the spotlight: On Concerto for Oboe and Violin in D minor, BWV 1060, oboist Albrecht Mayer plays the prim foil to Kennedy’s riper, vibrato-laden playing, and the Concerto for Two Violins, BWV 1043, finds Kennedy and violinist Daniel Stabrawa in a sanguine te^te a te^te. Those expecting an over-the-top Bach interpretation here will either be disappointed or pleasantly surprised, depending on their perspective. Bach’s grandeur speaks for itself, aided by Kennedy’s heated advocacy.

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