This issue replicates the programme of Monica Huggett’s Bach concerto disc with Sonnerie (Gaudeamus, 12/06). Both recordings feature period instruments and show the extra intimacy and clarity that come from having a string quintet, rather than an orchestra, playing the accompaniment. The performances, however, are very different in character – Beyer’s quick movements all go like the wind whereas, in matters of tempo, Huggett adheres more to tradition. The effect is exhilarating – Beyer’s fast speeds don’t threaten perfect rhythmic control, and the group’s playing has an admirable lightness of touch. The long, extended phrases in BWV1041’s first movement flow with irresistible momentum.

In some other places, however, high speed makes it necessary to skate over details of phrasing or counterpoint. We notice this particularly in the finales of BWV1056 and 1042; in these pieces Huggett’s more sober tempi allow her to point up many details and actually to make the music seem more vivacious. On the other hand, with Huggett, this care to bring out expressive detail can lead to exaggeration and distortion. At the first solo entry in BWV1041’s finale (tr 12 on both discs), Beyer is able to emphasise Bach’s striking gesture, with its rising appoggiatura, without underlining the moment heavily, as Huggett does. In the slow movements, both soloists are extremely stylish, with Beyer tending to phrase more smoothly, projecting longer lines and sounding more affecting. So, if you like your Bach to be speedy, this is a strong recommendation.