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The Freiburgers confirm their reputation for stylish, insightful music making and taut ensemble. Petra Müllejans interprets Bach’s bowings very freely in the A minor concerto, adding excitement to the lively, resilient outer movements and shaping the Andante’s cantilena expressively, even if the accompaniment seems stolidly heavy. She adds ornamentation discreetly, whereas von der Goltz is more extrovert in BWV 1042, taking more liberties in articulating and decorating its outer movements and driving the finale into virtuoso realms, yet allowing the central Adagio full expressiveness without sentimentality. They combine and demonstrate unanimity of approach in the ‘Double’ Concerto BWV 1043, conversing with each other throughout in mutually sensitive dialogue, particularly in the soulful slow movement. Anne Katharina Schreiber joins them in an often frenetic account of the conjectured original version of the surviving Triple Harpsichord Concerto BWV 1064, an interesting curiosity that fails to convince. The recording is well balanced and warmly resonant.

Robin Stowell Read the full review on Agora Classica

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Early Music Today, 2013 - ©Rhinegold Publishing