Volume Four in MDG’s survey of J.S. Bach’s complete solo concertos (meaning, I suppose, everything except the Brandenburgs, which already have been issued) admirably showcases the range of his achievement in this medium. BWV 1062 for two harpsichords is, like many of Bach’s keyboard concertos, a transcription of a lost work, most probably for violin and oboe, while the great C major concerto BWV 1061, also for two harpsichords, is one of a very few works actually written for keyboard instruments from the start. The “Italian” Concerto, on the other hand, is for solo harpsichord without orchestra, and yet the work admirably illustrates what concertos are supposed to do: the player’s right hand is the “soloist,” the left accompanies, and the two together play the “orchestral” parts. The program also includes the so-called “Triple Concerto” for flute, violin, and harpsichord, BWV 1044, an amazing work consisting entirely of retreads, but so well made that you’d never guess. All four pieces receive thoughtful, direct, and intelligent performances by the members of Musica Alta Ripa, and they are exceptionally well recorded.
