Concerto in D Minor, Wq. 22
Of the three works on this disc, here is the only one that began life as a flute concerto (like many composers of his day, Bach had no qualms about reworking existing works for multiple instruments).
Conductor David Riddell leads the Danish Sinfonietta with authority, although the lack of razor-sharp ensemble sometimes weakens the overall effect. The “wowing” of longer notes from the violins is not to my taste—especially when any sort of “echoes” from the flute would be nonsensical. From his first entry, flautist Rune Most (“Allegro”) continues to display his remarkable control and inventive use of embellishments.
“Un poco andante”, just a touch on the slow side, nonetheless moves steadily forward, as everywhere else, the harpsichord is the model of discretion, allowing the soloist to soar or “retire” at will. The highlight is the cadenza—brief but well-balanced and nuanced.
Best of the bunch is the concluding “Allegro di molto” which fires on every cylinder, immediately engaging all listeners. The only wee quibble comes when the dotted rhythms are followed by triplets, where more differentiation between the two rhythms would be welcome.
Concerto in A Minor, Wq. 166
In terms of harmony, counterpoint and rhythm (feeling at times like Bach had just discovered the joy of syncopation) this concerto (originally for cello, but also a harpsichord version exists) works marvellously for the flute. Its more considerable technical challenges are tossed off with ease by Most, daring Riddell and his charges to catch him if they can—mostly they do.
Perhaps a bit more “into the string” sustainability in the ensemble would add still more quiet emotion to the “Andante”. No worries, the “Allegro assai” will keep everyone (on both sides of the footlights!) on the edge of their seats.
Concerto in G Major, Wq. 169
The disc concludes with what began musical life as an organ concerto. Exuberant joy, deftly balanced by moments of reflection readily engages the ear from the git-go. This “Allegro di molto” certainly has an operatic feel.
Not to be , the “Largo” is warmly onto the road to Romanticism and, as usual from Most, the changes of register are exquisite.
The “Presto” has energy to burn (and share) from all concerned. More’s the pity that the flute is never allowed to get the last word in with his colleagues. Everything in its time. JWR