Johann Sebastian Bach Harpsichord Concertos, BWV 1050, 1053, 1056 & 1057

Could you please describe what particularly distinguishes the harpsichord on this recording (a replica of an instrument by Jean-Claude Goujon from 1748) in terms of sound and technique?

Yes - this wonderfully sonorous and beautifully regulated double-manual instrument was expertly crafted by the celebrated British harpsichord maker, Andrew Garlick. It's hugely rewarding, in equal measure, to play and to listen to and its versatility offers so much to these extraordinary concertos. The rich texture created by the two choirs of 8’ strings used in combination produce a timbre of notable warmth; to this robust foundation can be added the 4’ register - which is voiced quite generously compared to many French-style instruments - resulting in an especially brilliant and invigorating full chorus. By contrast the subtle, yet characterful 8’ registers employed individually really sing - a quality which is hugely beneficial to Bach’s exceptional melodic writing in the slow movements.  

Considering what aspects did you decide upon scoring the orchestral parts soloistically?

It’s now generally accepted that these pieces were performed using single strings at the Café Zimmermann in Leipzig during Bach’s time. But aside from this historical consideration, this approach is hugely beneficial on a number of levels; firstly, the natural balance between the harpsichord and the bowed string instruments is enhanced considerably. This, in turn, allowed our recording engineer, Paul Crichton, to capture the sound as it really is in person, rather than having to unnaturally raise the level of the harpsichord, which can have the unfortunate effect of making the sound rather forced and dry. Also, whilst this is virtuoso music for the harpsichord, it’s also very much chamber music - each of the parts being of equal importance - and so this soloistic approach allows the players’ individual musical personality to shine through in each of the string parts.