Harpsichord heaven

Richard Egarr’s calm, almost nonchalant approach to the harpsichord belies a technical expertise that has made him one of the leading exponents of the instrument.

Likewise, Bach’s French and English suites appear on paper to be relatively straightforward but on closer examination they yield complicated ornamental embellishments and severe technical challenges that tax the most astute performer.

Needless to say Egarr’s recital at the Queen’s Hall in Edinburgh was one to savour, with Baroque keyboard music of the highest order.

The suites range from stately Allemandes through energetic Courantes to the composer’s famous Gigues. Egarr’s precision was key to an outstanding performance, peaking with the hardest of all the many movements on show, the final movement of the G major French suite.

A morning of Bach harpsichord music might not be everyone’s cup of tea but it was right up my street.

If that was brilliant Bach, magnificent Mozart was to follow, courtesy of Ivan Fischer and the Budapest Festival Orchestra. Their Usher Hall concert was something else to savour.

All three movements of the Prague Symphony were magnificent – Mozart as it should be played without fuss or much ado but letting the music speak for itself.

This excellence carried on to the composer’s Requiem, with four fine soloists and the equally dynamic Festival Chorus added to the mix.

Strangely I thought the chorus to be slightly low-key at the start but they exploded into action with the Kyrie. From then on it was the sort of top-class performance one expects from this fine ensemble.

The balance of the soloists in the Recordare was something else to savour, despite their positions dotted about the orchestra’s ranks.

Putting it simply, of all the times I’ve heard this work I would put this performance high up in the top five.