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Fanfare Magazine: 38:2 (11-12/2014) 
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Chandos
CHAN0803



Code-barres / Barcode : 0095115080320

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Reviewer: James A. Altena

Back in 34:4 and then again in 36:4, I reviewed recordings of Bach’s trio sonatas for organ in other instrumental arrangements: the first time for a Baroque string trio and harpsichord (the Brook Street Band), the second time for varied ensembles of two to five instruments (Florilegium). This latest release by Philadelphia’s resident Baroque orchestra, Tempesta di Mare, is directly competitive with the latter, utilizing anywhere from two to six performers in a given sonata. As I have discussed the issues involved in such arrangements in those prior reviews, I will forego repetition of that this time.

How do the performances compare? Both sets of arrangements are effective, and both ensembles play superbly; you can’t go wrong with either one, and should delight in having both. However, there is a clear difference in interpretive approach, in a case where timings do tell the story. With only one exception (the opening Allegro of BWV 529), Florilegium takes a faster tempo than Tempesta in every fast movement, and a slower tempo in every slow movement. Thus, Florilegium lays a stress on contrasts, whereas Tempesta emphasizes continuity. While Florilegium’s interpretive profile happens to appeal more to my personal taste, that is a purely subjective judgment; certainly, I would not want to forego the exceptionally fine recorder playing of Gwyn Roberts and the nimble finger-work of Adam Pearl at the harpsichord for Tempesta (especially since illness prevented me from attending the concert from which these recordings derived). As always, Chandos lavishes on Tempesta its trademark rich recorded sound; exemplary and detailed booklet notes, artist bios, and table of contents; and multiple photos. In sum, Tempesta and Chandos have added another winning entry to their ongoing series; long may it thrive! Heartily recommended.

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