Violinists are becoming more proprietary towards work which we believe that Bach originally wrote for their instrument. A good thing. This new double album from Philips contains not only the three Concertos, BWV1041-3 which have survived in their original form but also reconstructions or, more properly, rehabilitations for violin and string orchestra of the Harpsichord Concertos in D minor, BWV1052 and F minor, BWV1056; the Concerto in C minor, BWV1060 has been left in what may indeed have been its original scoring for oboe, violin and strings. It is possible that BWV1056, in part at least, may contain music for which Bach had an oboe in mind but a violin is hardly a less likely possibility but either instrument makes clearer melodic sense of the music than Bach's own surviving arrangement for harpsichord and strings.
I found plenty to enjoy in these admirably unfussy, natural sounding performances. Salvatore Accardo is no stranger to baroque repertoire having made numerous recordings of concertos by his fellow countrymen Vivaldi and Tartini. He has a warm tone, an effectively applied vibrato and a sharp ear for nuance. He is also sensitive in his phrasing, successfully excluding from his interpretations those romantic gestures which add nothing of value to music of this period. There are, surprisingly, one or two lapses in intonation, something which I have not previously associated with his playing; but, by and large, his lyraical rapport with the music, his delicacy of expression—the beautifully poised slow movement of BWV1056 is a notable example—and his lively, rhythmic approach contribute towards making this one of the most enjoyable 'modern'performances that I have recently heard. His two partners, Margaret Batjer in BWV1043 and Douglas Boyd in BWV1060 match Accardo in sensibility and in technical finesse; I particularly admired Boyd's gentle dynamic shading in the slow movement of BWV1060. Accardo's solo playing in his own reconstruction of BWV1052 is crisp and articulate; it's a splendid performance.
The Chamber Orchestra of Europe provides firm support throughout, more convincing in fast movements than in slow ones—I found their accompaniment to the Andante of the A minor Concerto too leaden—but, in general, lively in response to Accardo's direction and well-disciplined in ensemble. To sum up, this issue should make wide appeal to lovers of Bach's music and of the violin repertoire in general. Good balance and recorded sound. (The single CD includes only the three concertos BWV1041-3).'