Bach: 7 Harpsichord Concertos, Triple Concerto

Bach’s keyboard concertos–some original compositions, others adapted from the Brandenburgs or string concertos–herald the genesis of the modern keyboard concerto as we know it, a genre later picked up and perfected by his son J.C. Bach. Until these stunning works were written, the harpsichord was used either as a continuo instrument or simply in a solo or chamber context. One reason for this is that the harpsichord doesn’t possess the volume to cope with a sizable orchestra as a solo force. Richard Egarr knows this limitation, but he doesn’t bestow any more amplification on his harpsichord than on the strings and wind. Fair enough, but there are a few frustrating moments when the primary, solo writing is sometimes lost beneath the less important orchestral counterpoint in the outer movements. That said, the balance in the slower movements works well due to the thinner textures, and overall the tempi are beautifully judged without the extreme speeds so often found in “authentic” performances. The phrasing and articulation are also well thought through, and these intimate performances display a joie de vivre lacking in most other recordings. Superb playing throughout. –Oliver Condy

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