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GRAMOPHONE (02/2015)
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Reviewer:  David Vickers

Gonzalez X Ruiz and Monica Huggett apply long-established scholarly theories that Bach must presumably have written oboe concertos, now lost, and that traces of them might be found in his harpsichord concertos because the solo parts cover a more limited range than a keyboard (so perhaps they are transcriptions of earlier concertos composed originally for other instruments). Ruiz’s imagination of what authentic Bachian oboe concertos might have been like is never merely academic, thanks to his characterful oboe-playing and the Portland Baroque Orchestra’s relaxed sparkle, whereby lightly jazzy personality, stylistic mastery and technical dexterity work hand in hand as equal artistic partners.

The Presto conclusion to a G minor adaptation of a harpsichord concerto (F minor, BWV1056) speaks with conversational ease, and pizzicato lower strings and sensuous violins form a delectable platform for lyrical oboe in the central Siciliano in an F major adaptation of another harpsichord concerto (E major, BWV1053). Ruiz uses a mellow oboe d’amore for a concerto rescored from BWV1055 (keeping the same key of A major). The double harpsichord concerto in C minor (BWV1060) is transferred with persuasive idiomaticness to oboe and violin (played by Huggett with a fine sense of chiaroscuro); but the most elaborate concerto in its editorial construction, BWV1059, uses organ-and-strings movements from the alto cantata Geist und

Seele wird verwirret (No 35), which flank a sweetly delicate Adagio lifted without alteration from Ich steh mit einem Fuss im Grabe (No 156). This is an exceptional union of scholarly curiosity and excellent musicianship.

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