BWV 1052 is known today as Bach’s Concerto
for Harpsichord and Strings though it may very well have originated
as a Violin Concerto. An earlier speculative reconstruction
was undertaken by none other than Ferdinand David in 1837 but
this newer one is by the soloist Kerstin Linder-Dewan. It is
perfectly idiomatic and a generally convincing undertaking with
solo and tutti integration well managed. Throughout she plays
with considerable style and understanding and none of the usual
troubling doubts cling to a performance that emerges independent
of its more accustomed context. Metronome have given us a mixed
concert recital here and include the A minor Sinfonia of the
Bohemian, Zelenka, who was so admired by Bach that he instructed
his eldest son W.F. to copy out Zelenka’s Magnificat in D –
and to learn from the experience. It is assuredly Vivaldian
in impress but is a buoyant work in five movements. The notes
speak of the Aria da Capriccio as possessing a bleakness
similar to Bohemia’s mountain regions – not something I can
say I noticed – and drawing on some geographical parallel with
the slow movement of Dvorak’s Cello Concerto (not a wise comparison
really). The recording ends with some spectacular trumpet playing
by David Staff in the Brandenburg Concerto. Rather magnificently
he modifies dynamics even as he sears the ear with his playing
– and it’s probably, with no disrespect to Linder-Dewan’s accomplishments,
the highlight of the disc. Fiori Musicali are a fresh and crisp
little ensemble of six violins, two violas, two cellos and a
double bass and allied instrumentation. They are imaginative,
listening musicians if sometimes a little frail and prone to
untidiness that would have been lessened with more rehearsal
time. Stationers’ Hall has a most appropriate acoustic and never
muddies the line. A disc of some pleasures it is assuredly worth
investigating for the reconstruction and the enviably assured
trumpeting of David Staff.
Jonathan Woolf
Kerstin Linder-Dewan,
violin 