From South Tyrol's Gustav-Mahler-Auditorium, Ensemble Diderot, under the thoughtful direction of Johannes Pramsohler with Philippe Grisvard at the harpsichord, embarks on a historical journey with their latest offering from Audax Records. Recorded just a year ago, Berlin Harpsichord Concertos sheds light on a pivotal yet often overlooked chapter in musical history—the post-baroque (galant) concertos originating from 1740s Berlin, a time ripe with new musical ideas.

The promo video for this album is a delightful preview for what the album encompasses.

What sets this album apart is its bold decision to stray from the familiar terrain trodden by the works of the Bach family, a testament to the ensemble's commitment to exploring uncharted musical landscapes. This choice, as explained by Grisvard, stemmed from a desire to showcase lesser-known composers whose ingenuity might otherwise remain in the shadows of their famous contemporaries. The result is a compilation of four concertos by relatively obscure composers, revealing that the spirit of Bach—be it Johann Sebastian or Carl Philipp Emanuel—lingers subtly in the background.

The album kicks off with Nichelmann's Concerto in D minor, a piece that brilliantly embodies the Sturm and Drang ethos, yet remains distinctly baroque in its composition. Grisvard's mastery over the keyboard shines, weaving through the intricate thematic and structural tapestries laid out by Nichelmann. His approach to the improvisatory elements, balancing measured rubato with precision, complements the Ensemble's crisp orchestral support, creating a dialogue that is as intellectually satisfying as it is emotive.

In the Schaffrath Concerto in C minor, one could be forgiven for mistaking it for a piece by C.P.E. Bach, given its intricate thematic development and unexpected musical turns. The interplay between the harpsichord and orchestra is particularly striking here, elevating the piece into a dramatic narrative that could mimics an operatic aria in its emotional depth and complexity.

Wolf’s Concerto in B-flat major brings a more evolved musical style to the fore, indicative of the transitional period between baroque and classical. The extensive slow movement, with its overtones of dramatic religious music and innovative keyboard treatment, showcases Wolf's ability to blend melodic and rhythmic elements into a captivating auditory experience.

Ensemble Diderot's performance is consistently stellar throughout the album. Their ability to sound larger than their numbers suggest, especially in moments of full orchestral engagement, is a testament to their cohesive unity and meticulous attention to articulation and timing. The recording’s acoustics favor the ensemble, presenting the harpsichord in a balanced mix that ensures Grisvard’s nuanced performances are heard in their full glory.

This album is not merely a musical compilation; it is an archival treasure that bridges the gap between the baroque and classical eras. For enthusiasts of the period and newcomers alike, this album offers a fresh perspective on a transformative era in music history. It stands as a vital contribution to our understanding of a musical milieu that, while echoing the culture we may recognize in the music from the Bach family, was vibrant with its own innovative impulses. Kudos to the ensemble for bringing us world-premier recordings combined with strong technical precision.