0 C. P. E. Bach Concertos for Keyboard and Strings, Volume 3 — G minor, H409; A, H411; D, H421. Mikles SpAnyi (hpd); Concerto Armonico / Peter Sziits.

BIS 0 (1) CD767 (68 minutes: DDD).

Three concertos from Bach's early years in Berlin constitute the third volume in this ambitious project to record all 60-odd keyboard works with orchestra (the first two volumes were reviewed in 7/96). Whilst these particular concertos are not always consistently engaging, they nevertheless demonstrate the emerging inventiveness of Carl Philipp Emanuel's musical personality within a growing trend towards public concerts in the mideighteenth century. In fits and starts there are those sparsely etched landscapes, complete with an unsettled weather front, which at their best can captivate us. The first movement of the G minor Concerto is a case in point, particularly in its quasidevelopment section where a simple sequence is used to remarkable structural effect. Taken in isolation, the raw material is not especially notable, but the openings of the outer movements belie a far-sighted rhetorical scheme, sometimes with Beethovenian rumblings, or in the subdued and broody middle movements, a Haydnesque plethora of laced sentiment, pathetic but objective.

If decorum sometimes gets overworked, Bach's originality is even more remarkable given that the ritornello structure inherited from his father's generation, with its alternating solo and string sections, is less easy to sustain in a relatively uncontrapuntal style. Contrast is therefore a key element and Bach needs a soloist who can discern how the relationship between the harpsichord and the orchestra can be manipulated to good effect. MiklOs Spanyi and Concerto Armonico, led by Peter Szilts, give wonderfully lucid, flexible and clearly articulated readings. Moreover, Spanyi's cultivated asides are matched by a string ensemble which graciously responds to the soloist's discretion. The shading in the finale of the G minor and middle movement of the D major Concertos is also energized by a naturally discursive balance, a deft textural palette for which artist and engineer can take equal credit.

This whole project is a significant and laudable labour of love by BIS since only a handful of collectors will opt for the required yardage in shelf space. Yet with such eloquent and fresh playing, this latest volume of world premiere recordings will give the listener more than just an opportunity to refine his perspective on Bach's achievements. Much of this music gets under the skin in its own right, and more so on repeated listening. It deserves a welcoming audience. JF-A