The two-disc set from which these concertos are taken comprised all seven and all three are adaptations from known works; two violin concertos (BWV1054=1042 and BWV1058=1041) and the Fourth Brandenburg Concerto (BWV1057= 1049). The flanking movements are about right in tempo but, like the slow ones (which in BWV1054 and, to a lesser extent 1058 are too dreamy for comfort), the overall impression is flaccid and there is little sign of enthusiasm on the part of the ASMF. Nor is much real animation gained from Gavrilov's apparent, recurrent belief that a piano keyboard should be tapped, like that of a typewriter under the fingers of a hard-working secretary; or, worse, a belief that this is what harpsichordists do.
The French Suite makes a curious filler (the disc's title is ''Keyboard Concertos'') and though it is treated to dynamics that are foreign to the harpsichord it is decently played. I can raise little enthusiasm for this disc and would not remove it from the shelf while there are harpsichord recordings to be had—as there are, in abundance.'