Gli Incogniti/Beyer: Bach from Italy album review – fascinating collection sizzles and shines

<p><strong>(Harmonia Mundi)</strong> <br>Violinist Amandine Beyer and the musicians of Gli Incogniti juxtapose original works by Vivaldi and the Marcello brothers with the Bach compositions they inspired and influenced </p><p>Back in the 18th century, German rulers who wanted the best for their courts sent out scouts to bring back the finest Italy had to offer. Although Bach famously never travelled far, he was by no means immune to the popular zeitgeist, falling in love with imported works by composers such as Vivaldi and the Marcello brothers, whose music he copied and transcribed in his own inimitable way. This double disc, ingeniously programmed by French violinist Amandine Beyer, pays homage to those Italophile tendencies, juxtaposing Bach’s works influenced by Italian originals with music by the composers themselves.</p><p>Some associations are obvious, such as Vivaldi’s concerto for four violins that 25-or-so years later became Bach’s concerto for four harpsichords. Others are more oblique, such as Bach’s double violin concerto that merely begins with the same melodic motif as a Vivaldi trio sonata. Beyer, very much first among equals here, is joined by the musicians of Gli Incogniti in spirited, light-of-foot performances. There’s an alluring sense of fantasy about Vivaldi’s D minor concerto for two violins and cello, for example, ditto Alessandro Marcello’s spritely oboe concerto, both of which Bach transcribed for keyboard. Three Brandenburg concertos positively sizzle. The connections, if occasionally on the tenuous side, are fascinating.</p> <a href="https://www.theguardian.com/music/2025/oct/24/gli-incognitibeyer-bach-from-italy-album-review-fascinating-collection-sizzles-and-shines">Continue reading...</a>