This recording competes with many fine versions, including Pinnock’s own celebrated 1982 version (see the discography for Graham Lock’s interview with Pinnock, Goldberg 43). Pinnock writes that in 1982 “I stood in awe of Bach’s discipline and order”, whereas “today I relish his sense of daring and musical subversion”. To be sure, this is hardly the most “subversive” version in the catalogue, but Pinnock does seem more nuanced and flexible than his earlier self.

The palpable sense of rhetorical dialogue reflects Pinnock’s intention to “cut through any narrow conceptions of period style” by inviting “players from different countries and of different generations to join my new voyage of exploration”. The members of his European Brandenburg Ensemble are capable of dazzling virtuosity and subtle musicianship alike. Although the performances are not one-per-part, they still generate a chamber-music feel (enhanced by Pinnock’s decision to employ a lighter, 8-foot violone in most concertos). This allows for a genial atmosphere, yet intensifies expressive eloquence and a gentle, forward-surging momentum. The attractive sonorities are exquisitely captured by the warm recording.

This set includes, for instance, one the best-balanced Fifth Brandenburg on record – the harpsichord is clearly present throughout without resorting to artificial-sounding spotlighting. Pinnock’s version, like Alessandrini’s (see Brian Robins’ review in Goldberg 38), offers a fresh look at the Brandenburg Concertos without indulging in novelty for its own sake. Both versions reveal that superb musicians with questing minds can still enrich our understanding of these oft-recorded works. URI GOLOMB