Bach Harpsichord Concertos, Vol. 1
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Opus 111
Magazine Review Date: 8/1997
Media Format: CD or Download
Media Runtime: 72
Mastering:
DDD
Catalogue Number: OPS30-153
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto for Harpsichord and Strings |
Johann Sebastian Bach, Composer
Concerto Italiano Johann Sebastian Bach, Composer Rinaldo Alessandrini, Harpsichord |
| Concerto for Flute, Violin, Harpsichord and Strings |
Johann Sebastian Bach, Composer
Claudio Rufa, Flute Concerto Italiano Francesca Vicari, Violin Johann Sebastian Bach, Composer Rinaldo Alessandrini, Harpsichord |
Author: Nicholas Anderson
In the January 1995 issue of Gramophone I favourably reviewed a disc by Pierre Hantai and Le Concert Francais containing two of Bach’s harpsichord concertos (BWV1052 and 1054), the A minor Triple Concerto (BWV1044) and two Preludes and Fugues from the Second Book of the 48. I also confidently predicted that it was the start of a series. Well, it seems as if I was wrong; but instead, Rinaldo Alessandrini and his Concerto Italiano have followed in the footsteps of their French rivals, performing the same three concertos, as well as another (BWV1057). Since the release is subheaded “Volume 1”, no predictions are required in this instance.
Alessandrini has been proving himself a very effective interpreter of Monteverdi madrigals as well as providing stylish harpsichord continuo in various Italian baroque concertos. The Bach harpsichord concertos promise much, with lucid and rhythmically eloquent performances by Alessandrini, his fellow soloists and his ripienists. Phrases are effectively shaped, and punctuated not so much in the manner of colloquial conversation but more in the permissably self-conscious style of public oratory. I find this aspect of the readings refreshing, illuminating and entertaining though some readers and I dare say some of my colleagues, too, may not. In a word, much of this playing is coloured by a lively sense of theatre, sometimes a little too mannered, perhaps, but seldom if ever pointless. In the Concerto in F major (BWV1057) – Bach’s own arrangement of Brandenburg Concerto No. 4 – Alessandrini swings the rhythm of the Andante middle movement in much the same way as Nikolaus Harnoncourt does in his two recordings of the Brandenburgs (both for Teldec, 7/93 and 5/95). It has always seemed to me quite appropriate, indeed beneficial, since it enlivens a rhythmic pattern that otherwise often comes across as stolid.
By and large, Alessandrini and Hantai adopt similar tempos for the music in all but the conclusion of the Triple Concerto, where Alessandrini prefers a more leisurely exposition than the other. Throughout the disc the excellent recorded sound enables a listener to hear details in each strand of the texture. In summary, this is playing of spirit and refinement which brings out many nuances in Bach’s music. Only the more exaggerated gestures of Alessandrini and his ensemble, many of them at cadences, may disturb readers who enjoy more rhythmically straightforward performances. Meanwhile, I look forward to further instalments with confidence tinged with a little anxiety on account of the aforementioned reservations.'
Alessandrini has been proving himself a very effective interpreter of Monteverdi madrigals as well as providing stylish harpsichord continuo in various Italian baroque concertos. The Bach harpsichord concertos promise much, with lucid and rhythmically eloquent performances by Alessandrini, his fellow soloists and his ripienists. Phrases are effectively shaped, and punctuated not so much in the manner of colloquial conversation but more in the permissably self-conscious style of public oratory. I find this aspect of the readings refreshing, illuminating and entertaining though some readers and I dare say some of my colleagues, too, may not. In a word, much of this playing is coloured by a lively sense of theatre, sometimes a little too mannered, perhaps, but seldom if ever pointless. In the Concerto in F major (BWV1057) – Bach’s own arrangement of Brandenburg Concerto No. 4 – Alessandrini swings the rhythm of the Andante middle movement in much the same way as Nikolaus Harnoncourt does in his two recordings of the Brandenburgs (both for Teldec, 7/93 and 5/95). It has always seemed to me quite appropriate, indeed beneficial, since it enlivens a rhythmic pattern that otherwise often comes across as stolid.
By and large, Alessandrini and Hantai adopt similar tempos for the music in all but the conclusion of the Triple Concerto, where Alessandrini prefers a more leisurely exposition than the other. Throughout the disc the excellent recorded sound enables a listener to hear details in each strand of the texture. In summary, this is playing of spirit and refinement which brings out many nuances in Bach’s music. Only the more exaggerated gestures of Alessandrini and his ensemble, many of them at cadences, may disturb readers who enjoy more rhythmically straightforward performances. Meanwhile, I look forward to further instalments with confidence tinged with a little anxiety on account of the aforementioned reservations.'
Bach Harpsichord Concertos, Vol. 1
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