Follow­up albums don’t always fulfil the promise of their predecessors‚ but this one certainly does. More than fulfils it‚ in fact‚ especially in the D major Concerto (cf the Second Violin Concerto in E) where numerous subtle emphases help focus aspects of Bach’s writing: just one example is the rising motive at 3'40" into the first movement that overlays the reprise of the first theme. As well as being immensely vital‚ Perahia’s Bach is profoundly pianistic‚ not in any exhibitionistic sense‚ but in the way tempo‚ dynamics and nuance register without undue exaggeration. The soloist’s accentuated bass­line at 0'57" into the first movement of the Fifth Concerto‚ so important to Bach’s harmonic ground plan‚ is a further instance‚ and so is the fractional dip in tempo at 1'52" into the (very fast) finale of the same work‚ a telling expressive touch. In the Largo the Academy’s harpsichordist selects a lute stop‚ which adds a nice touch of additional colour to the texture. Perahia’s staccato never loses quality‚ even when soft – try the opening movement of the Sixth Concerto. And yet he is just as capable of increasing the pressure as he sees fit: listen out for his brightening tone at 5'16" into the same movement‚ or the extraordinary dexterity of his finger work from around 1'45" into the finale‚ a fair match for any fiddler tackling the same passage in the parallel Fourth Brandenburg Concerto. The only gesture I wasn’t quite sure about – it seems just a trifle mannered – occurs at 2'01" into the slow movement of the Seventh Concerto (cf the A minor Violin Concerto) where‚ instead of playing the expected trill‚ Perahia repeats a lone G sharp‚ then accelerates into a trill. Then again it is a way of sustaining the note (such a wonderful moment in the violin version)‚ and if my long­term reaction to Perahia’s previous Bach concertos disc (Nos 1‚ 2 and 4‚ 5/01) is anything to go by‚ it’ll probably grow on me. The counterpoint­crazy Glenn Gould is my elevated benchmark‚ wonderfully absorbing as ever‚ but this warmer‚ more discreet and more overtly decorative newcomer is‚ for the moment‚ my preferred option. The sound is beautifully clear (violin desks are antiphonally placed) with impressive richness in the bass. Nothing much more to say except‚ don’t hesitate – life is too short.