Keyboard Concerto No 4 in A major BWV1055 English Français Deutsch
1		Allegro  [4'06]
2		Larghetto  [4'55]
3		Allegro ma non tanto  [4'39]
		Keyboard Concerto No 3 in D major BWV1054 English Français Deutsch
4		[untitled]  [7'29]
5		Adagio e piano sempre  [6'05]
6		Allegro  [2'37]
		Keyboard Concerto No 2 in E major BWV1053 English Français Deutsch
7		[untitled]  [8'02]
8		Siciliano  [4'43]
9		Allegro  [6'28]
		Keyboard Concerto No 5 in F minor BWV1056 English Français Deutsch
10		Allegro  [3'28]
11		Adagio  [2'57]
12		Presto  [3'19]
		Keyboard Concerto No 6 in F major BWV1057 English Français Deutsch
13		[untitled]  [7'21] with Alison Mitchell (flute), Emma Sholl (flute)
14		Andante  [4'09] with Alison Mitchell (flute), Emma Sholl (flute)
15		Allegro assai  [5'02] with Alison Mitchell (flute), Emma Sholl (flute)

This disc and its companion SACDA67307 contain all Bach’s extant concertos that feature a solo keyboard. Most were written in the 1730s and are thought to be arrangements of earlier concertos, many of which are now lost (though two will be recognized as Bach’s E major and A minor violin concertos and the sixth is an arrangement of the fourth Brandenburg). The fifth Brandenburg Concerto, with harpsichord, flute and violin soloists, dates from 1721 and is generally regarded as the first concerto for a solo keyboard instrument ever written. Bach made the keyboard part particularly brilliant and included a huge cadenza; he certainly knew how to establish a genre with a bang!

Hewitt’s Bach is by now self-recommending but only after playing Bach across the world with numerous ensembles did Angela decide that the Australian Chamber Orchestra were the perfect collaborators. After a month of concerts across Australia these recordings were set down in Sydney in February of this year and the frisson of artists operating at the peak of their form is clear for all to hear. One is immediately struck by the quality of chamber-music playing as phrases are passed from soloist to orchestra and, in the case of Brandenburg Concerto No 5 and the Triple Concerto, between all three soloists. Rhythms are buoyant, tempos lively, the spirit of dance is never far away in the fast movements and a perfectly vocal quality pervades the sung lines of the slow movements.

These discs will surely be the jewels in the crown of Angela Hewitt’s magnificent Bach series.