BACH: Brandenburg Concertos (complete); Harpsichord Concertos in d, BWV 1051, in f, BWV 1056; Violin Concerto in d, BWV 1052 (reconstruction) – Elizabeth Wallfisch, violin/ Apollo’s Fire/ Jeannette Sorrell, director & harpsichord – Avie

by | Aug 20, 2010 | Classical Reissue Reviews | 0 comments

BACH: Brandenburg Concertos (complete); Harpsichord Concertos in d, BWV 1051, in f, BWV 1056; Violin Concerto in d, BWV 1052 (reconstruction) – Elizabeth Wallfisch, violin/ Apollo’s Fire/ Jeannette Sorrell, director & harpsichord – Avie 2207 (2 CDs), 2:32:02 [Distr. by Allegro] *****:

Somehow I missed this 1999 recording initially released on the Etcetera label (the concertos have been added, recorded from 2002-05). What a loss that is to me, for these readings are nothing short of spectacular in every way—my only regret is that they are not high definition recordings, but even so, with Avie’s superb transfers every note of Bach’s wondrous genius comes across in colorful splendor.

Considering that the label has just recently put out a competing Brandenburg set with Trevor Pinnock that I have not heard but has gotten superlative reviews (including Gary Lemco’s accolade here).  I was quite surprised to see this one, but the folks at Avie are evidently perspicacious enough to realize what a treasure they had come across.

Jeannette Sorrell is somewhat of a wunderkind the way she stormed on the scene about 20 years ago, and Apollo’s Fire has lived up to its name. The brandished tone that the ensemble provides for especially the first and last concerto (the strings are simply superb in No. 6) has to be heard to be believed. Even though the risky no. 2 is a bane of trumpet players everywhere, John Thiessen negotiates its trickery about as well as any period trumpet I have heard. No. 3 is speedy but reasonably so without sounding stressed, while No. 4’s punchy flutes have never sounded better. Best of all, the harpsichord-dominated No. 5 is played with great verve by Sorrell, the amazing cadenza in the first movement well-conceived and temperately executed.

The concertos were never intended to be played as a group because of the obvious disparity in performing forces, but time and tradition have dictated that most people will hear them that way, and this collection is as good as any for doing so. As a bonus we get two harpsichord concertos and a newly reconstructed violin concerto (after the D-minor harpsichord concerto) that seeks to demonstrate its probable original bearings (also controversial) but that is well-played by long-time Baroque maven Elizabeth Wallfisch. This is a winner all around, and I heartily recommend these two packed discs. The only downside is that it sells for about $30, pretty pricey for 10-year-old reissues, so you will have to factor that in. My other recommendations still stand, with this addition. Purchase with confidence.

— Steven Ritter

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