Let’s get this out of the way first: this collection really has one of the worst covers I’ve seen in a classical album by a major label. I’m not sure what the pink background and the three berries have in relation with Bach’s Harpsichord concertos (maybe one berry for each disc?) but to say they could have done so much better is a major understatement.
This is a re-release of a collection I used to own in vinyl. I hadn’t realized that until I searched in the internet and realized this was the same ensemble and soloist that played in a 4-vinyl set I used to have when I was around 12 years old. The music immediately reminded me of my loved, lost version. One quick search revealed me that this was indeed the same version I had with a proper harpsichord in the cover performed (as shown below - compare that with the berry cover) by Trevor Pinnock and The English Concert (at 12 years of age I really didn’t pay as much attention to the performers as today).
On to the music and the recording. This collection of all of Johann Sebastian Bach’s harpsichord concertos is outstanding in its price and in its completeness. Here we have all the pieces that the Eisenach master composed and/or transcribed for the keyboard instrument. We have all concertos for solo harpsichord, as well as 2 for 2 harpsichords, one for 3, and one for 4. All the pieces but one (BWV 1060) are transcriptions made by Bach of concertos for other instruments, and as such some of them are not as brilliant as the others. I absolutely love BWV 1052, in my view one of the best compositions by the Kantor, with a first movement that mesmerizes the listener with the musical plight the main theme endures in order to return at the end, and a third movement filled with an energy that has rarely been rivaled since. Other highlight is the concerto in F-minor BWV 1056, with its haunting opening theme, much more subdued in its character than the virulent BWV 1052. The only concerto thought to be initially written for harpsichord, BWV 1060 for 2 harpsichords, breathes with a grace and elegance presaging the classical masters of the late 18th century, its finale rivaling the violin concertos and the BWV 1052 in sheer musical drama. BWV 1057 is a transcription of the 4th Brandenburg Concerto and doesn’t suffer in the transition. On the other hand, I’m not too fond of the transcriptions of the violin concertos, especially the one in E-major (here in D major to accommodate the harpsichord’s range), which loses its vivacity and turns into a good if irrelevant piece. The re-working of the glorious concerto for 2 violins also pales in comparison to the original, even though, if one didn’t know the latter, one would be still marveled at the music of the former. BWV 1065 for 4 harpsichords is a transcription of a concerto by Vivaldi and its different origin is evident, especially in the outer movements.
This recording was made using authentic, period instruments. While I’ve been less than thrilled to listen to baroque music in baroque instruments in the past, this is slowly starting to change. I still prefer the emotion and passion that modern instruments and techniques can bring to the music, but with art so high as Bach’s, the music in the end shines through and actually reveals new facets when performed in antique instruments. As far as the versions go, I’m happy with the tempos and the character given to the pieces, and Pinnock is a fantastic soloist who brings these concertos to life in a exploding fashion, with none of the coldness of other performers I’ve heard who play mechanically as if the music wasn’t meant to be an interaction between three parts: composer-performer-listener. Pinnock and his soloists get this right.I can’t do anything else but recommend this collection to everybody. Great versions of magnificent works at an unbeatable price. Go beyond the awful berry-cover, and you’ll find a treasure where every little penny you spend will be rewarded 10 times over. Or more.
4.5/5
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