Three early keyboard concertos with many striking contrasts make for a rewarding programme. Bach's very fine D minor Concerto was, at least in its keyboard form, a product of his Leipzig years and probably dates from between 1729 and 1741. Bach himself thought highly of it, adapting its first two movements for one of his church cantatas (BWV146). Haydn's Concerto in D major dates from 1784 and, in common with many such concertos of the time, was composed for either harpsichord or piano. Mozart's C major Concerto (K246), written for Countess Lutzow, is one of the early Salzburg group predating the Haydn by eight years.
Each of the three works on this disc features a different soloist and a piano rather than harpsichord is preferred as the solo instrument. This is fine in the case of the Haydn and Mozart concertos, but I was less happy with the results in the Bach, not so much on authentic grounds as in respect of texture and colour. Orazio Maione is a sensitive musician who gives a fluent, smoothly articulated performance of the Bach concerto but neither he nor the orchestra seem to have discovered the immense strength and latent energy of the outer movements. I found this interpretation too cool with an absence of that spirit with which Bach at times almost foreshadows the Empfindsamerstil of the mid-century and later. Even so there is something to admire in this graceful, well-shaped view of the music.
The soloist in the Haydn Concerto is Gloria d'Atri, who has fewer problems than her colleague in the Bach as far as colour and texture are concerned. Haydn's orchestra includes oboes and horns which provide a fuller body of sound to interact with and set off the character of a modern piano. Haydn perhaps does not entirely succeed in developing the initial idea of the opening movement but, above all in the finale—a Rondo all'Ungherese whose theme is introduced by the keyboard—a more characteristic humour and vitality is present. This and the expressive slow movement come over well. The Mozart concerto is given to the third soloist on the disc. Paola Bruni who gives a well-shaped, spirited account of the music with a feeling for dynamic shading and for caprice.
The European Community Chamber Orchestra under its leader/director Eivind Aadland provides lively and sympathetic support in all three works and the recorded sound is clear and pleasantly resonant. In short an enjoyable release though I would urge readers wishing to explore the Bach concerto in fuller dimension to acquaint themselves with harpsichord versions by Herbert Tachezi (Teldec, 12/89), Ton Koopman (Erato) or Trevor Pinnock (Archiv, 9/87).'