If they had wanted to be pedantically completist about it, we would have the Fifth Brandenburg and the Triple Concerto instead we get the three known violin concertos plus the three most convincing reconstructions from harpsichord concertos, supplemented by a reconstruction of the putative early violin version of the B minor Flute Suite, and all neatly interspersed with arrangements of two of the organ sonatas and a clutch of cantata sinfonias (including the rarely heard, trumpet-and-drum-laden BWV1045, a violin concerto movement of some flashiness). Their choice of repertoire, too, feels driven by a desire to celebrate Bach’s life with the violin rather than document it. That Isabelle Faust and the Akademie für Alte Musik Berlin have let this Bach violin concertos album run to nearly 2 hours of music suggests a relish of their task that is mirrored triumphantly in the resultant music-making. Isabelle Faust, Akademie für Alte Musik Berlin The result is a potent artistic synergy between the musicians. Hewitt also adds a cello to the continuo while contributing notes inégales, appogiature and other embellishments to her own line. What’s unusual here is the melding of two different types of keyboard, one sharply transient, the other ductile and just how their functions dovetail with one another may be heard in the slow movement of the Brandenburg Concerto No 5. Combining old and new isn’t unusual because in the early years of period performing practices, the likes of Thurston Dart, Raymond Leppard and George Malcolm married a harpsichord to modern strings and wind. Angela Hewitt includes, as she says, ‘a harpsichord in its traditional role as continuo’. These are not entirely modern-instrument performances. Rob Cowan Keyboard ConcertosĪngela Hewitt pf Australian Chamber Orchestra / Richard Tognetti All in all, this counts as yet another exceptional Bach-Perahia release. The carefully balanced Sony recordings keep the sound frame tight and lively. Andras Schiff, like Perahia, commands a wide range of colours, though the binding force of Perahia’s concentration – always a boon in his latest recordings – leaves the stronger impression. And while Edwin Fischer is consistently spontaneous, he is rather less elegant than Perahia – and his version of the A major Concerto sounds to me as if it’s ‘Busonified’ (or something very similar). Sviatoslav Richter plays with incredible control while keeping every note alive, but some might find his manner too austere. Andrei Gavrilov ‘out-Goulds’ Gould with his dry staccatissimo, and Gould himself was a good deal livelier in concert than on his rather sober commercial recording under Leonard Bernstein. Rivals are plentiful, but credible contenders at this level of interpretation are rare. The 50 best Johannes Brahms albums Orchestral Keyboard Concertos Nos 1, 2 & 4.The 50 best Wolfgang Amadeus Mozart recordings.The 50 best Ludwig van Beethoven recordings.To find out more about subscribing to this unique and endlessly fascinating resource, visit: .uk/subscribe. We have also included, where possible, the complete original Gramophone reviews, which are drawn from Gramophone's Reviews Database of more than 40,000 reviews. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental and vocal. Included here are Gramophone Award-winning albums, Recordings of the Month and Editor's Choice recordings. We are proud to present 50 of the finest recordings of JS Bach's music.
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