Review: Bach - Keyboard Concertos - Beatrice Rana (2025)

Beatrice Rana’s collaboration with the Amsterdam Sinfonietta began in 2019, when she first performed two of Bach’s keyboard concertos. Rana admits initial hesitation about her dual role as soloist and leader, but the experience proved rewarding enough to inspire this recording of four concertos.

Bach – Keyboard Concertos

Despite using modern instruments, the performance approach clearly aims for a Baroque-like sound. The strings play with minimum vibrato, lean bow work and short endings to phrases. The ensemble demonstrates impeccable coordination within the sections and with the piano, particularly noticeable in the brisk tempos of the D minor concerto.

Quick tempi do not necessarily result in overly driven performances. Rana’s articulation can feel subdued compared to Gile Bae’s recent performance (reviewed here), who exhibited a more dynamic and authoritative style. The slow movement, though delicately executed by Rana, features strings less overtly expressive than in the classic Gould/Bernstein interpretation.

The E major BWV 1053 also moves at what feels like a breakneck pace, although this suits the work’s sunny character well: the result is lively and engaging, capturing the elegance and intricacy of Bach’s writing. Rana stands out particularly in her solo passages, showcasing subtle and tasteful shifts in dynamics and tone colors. Her performance vividly highlights the work’s spirited and youthful aspects through energetic and agile playing in arpeggios and runs. This approach contrasts notably with Angela Hewitt’s (on her two recordings of the work). Hewitt takes a more deliberate tempo, carefully emphasizing each note, which lends her interpretation a dignified, calm presence.

The performers truly settle into their collective artistic voice on the D major concerto (tracks 7-9). The opening movement benefits from precise staccatos, and the finale carries an appealing rhythmic swing. In the Adagio, I do prefer András Schiff and the Chamber Orchestra of Europe recording (Decca): the layering of different string textures come through better, and Schiff’s playing, though idiomatically restrained, still has that extra touch of melancholy.

In the F minor BWV 1056 (tracks 10-12), Rana and the Sinfonietta adeptly balance the darker emotional palette with Baroque elegance, offering convincing drama. The Largo is particularly successful, highlighting a refined partnership between soloist and ensemble. As the strings tiptoe gently, Rana plays her lines with a silky lyricism and a tenderness that matches the ensemble’s.

Rana’s insightful liner notes reflect a thoughtful approach, clearly outlining her interpretive choices and vision for the program. While the album might not challenge familiar interpretations of Bach’s keyboard concertos, its refined execution and Rana’s committed musicianship make for a rewarding listening experience.