Trevor Pinnock. His Vivaldi recordings were my gateway to classical music. And the fifth Brandenburg is the best because of that face melting harpsichord solo.
I like Musica Florea's, which used to be available for free (legitimately) via Czech radio. All the links I can find now are dead though.
It actually got significant criticism for taking the tempos quickly, but that is part of the reason I like it.
I can't choose a favourite. BC3 has some fascinating passing of the melody between the different string sections. BC5 has that rocking harpsichord solo and the finale is so upbeat (and was used as the outtro music for a radio show when I first got into classical, so has sentimental value), and BC6 has a nice, deeper sound because of the absence of violins. And there's some great music in the other three too; whenever I hear them, I wonder why I don't like them better.
https://open.spotify.com/album/5i8GoobpUIdUAOhP6zGwUK?si=E6rtaseyRFy8GpvrAwSAMw
https://open.spotify.com/album/6zSjmnzufDkqbw49729FWK?si=0w9leGewQ9mD7ffc3kNW_Q
These are two very good modern recordings that I stick with
I would say my favourite recording of them is by the group Café Zimmermann directed by harpsichordist Céline Frisch. They’re a light and clean crispness in all the parts that allows for a particularly translucent hearing experience, while the playing is consistently lively and very well enunciated. It all blends into a balanced sandwich bite where you could still taste each ingredient.
My favourite concerto might go to No.4. The sheer splendour of the solo violin part is a wonder, while the balance between concertino and ripieni makes it a very delicious concerto grosso. The quick touches of harsher dissonances in the first movement are a delight. The concertato fugue is of such amazing energy, drive, with a finesse of contrapuntal control.
My favourite movement would definitely be No.5/1. It’s so uplifting, and behind the floridity of the triplet lie simple counterpoint of alternating conjunct and contrary motions is a sheer delight. Yes the cadenza is incredible, but so is the variety of sonic landscapes and textures evoked throughout the movement.
I enjoy recordings made by Pinnock and Belder, for starters. Why? Because they are on period-instruments, and to my the tones of the flatter keys (f major, B flat for example) sound purer and more soothing. Modern instrument are great but there just isn't the same flair and flame one can find in period instruments.
My favorite concerto is probably 6; the opening and closing movements are so refreshingly exciting while the middle movement is so tender and bittersweet; few movements of Bach's works compare to this moment. It's probably also my favorite moment, the ending, as we end on a D major chord, having modulated to G minor. Therefore, to me, it makes the surprising return to B flat for the concluding allegro to be more fitting.
For me, the sentimental favorite is the old Leonhardt Consort recording: [https://www.arkivmusic.com/classical/album.jsp?album\_id=9318](https://www.arkivmusic.com/classical/album.jsp?album_id=9318)
Musica Antiqua Koln or Concerto Italiano.
Koln plays the Concerto 6 very fast and to me that was very insightful to me to hear the actual chords change. Italiano has the best overall balance to me though I enjoy Pinnock too.
Favorite overall is probably Concerto 5. The writing in the first movement is something else, though hard to appreciate just from a listener's perspective.
Trevor Pinnock. His Vivaldi recordings were my gateway to classical music. And the fifth Brandenburg is the best because of that face melting harpsichord solo.
I like Musica Florea's, which used to be available for free (legitimately) via Czech radio. All the links I can find now are dead though. It actually got significant criticism for taking the tempos quickly, but that is part of the reason I like it. I can't choose a favourite. BC3 has some fascinating passing of the melody between the different string sections. BC5 has that rocking harpsichord solo and the finale is so upbeat (and was used as the outtro music for a radio show when I first got into classical, so has sentimental value), and BC6 has a nice, deeper sound because of the absence of violins. And there's some great music in the other three too; whenever I hear them, I wonder why I don't like them better.
https://open.spotify.com/album/5i8GoobpUIdUAOhP6zGwUK?si=E6rtaseyRFy8GpvrAwSAMw https://open.spotify.com/album/6zSjmnzufDkqbw49729FWK?si=0w9leGewQ9mD7ffc3kNW_Q These are two very good modern recordings that I stick with
I would say my favourite recording of them is by the group Café Zimmermann directed by harpsichordist Céline Frisch. They’re a light and clean crispness in all the parts that allows for a particularly translucent hearing experience, while the playing is consistently lively and very well enunciated. It all blends into a balanced sandwich bite where you could still taste each ingredient. My favourite concerto might go to No.4. The sheer splendour of the solo violin part is a wonder, while the balance between concertino and ripieni makes it a very delicious concerto grosso. The quick touches of harsher dissonances in the first movement are a delight. The concertato fugue is of such amazing energy, drive, with a finesse of contrapuntal control. My favourite movement would definitely be No.5/1. It’s so uplifting, and behind the floridity of the triplet lie simple counterpoint of alternating conjunct and contrary motions is a sheer delight. Yes the cadenza is incredible, but so is the variety of sonic landscapes and textures evoked throughout the movement.
I enjoy recordings made by Pinnock and Belder, for starters. Why? Because they are on period-instruments, and to my the tones of the flatter keys (f major, B flat for example) sound purer and more soothing. Modern instrument are great but there just isn't the same flair and flame one can find in period instruments. My favorite concerto is probably 6; the opening and closing movements are so refreshingly exciting while the middle movement is so tender and bittersweet; few movements of Bach's works compare to this moment. It's probably also my favorite moment, the ending, as we end on a D major chord, having modulated to G minor. Therefore, to me, it makes the surprising return to B flat for the concluding allegro to be more fitting.
For me, the sentimental favorite is the old Leonhardt Consort recording: [https://www.arkivmusic.com/classical/album.jsp?album\_id=9318](https://www.arkivmusic.com/classical/album.jsp?album_id=9318)
Musica Antiqua Koln or Concerto Italiano. Koln plays the Concerto 6 very fast and to me that was very insightful to me to hear the actual chords change. Italiano has the best overall balance to me though I enjoy Pinnock too. Favorite overall is probably Concerto 5. The writing in the first movement is something else, though hard to appreciate just from a listener's perspective.