One of the most promising pianists of her generation, Beatrice Rana has produced yet another fascinating survey of four of Bach’s Keyboard Concertos with the Amsterdam Sinfonietta. As Rana explained in the liner notes, Bach has been an important figure in her life, having grown up with his music and given her concerto debut with his F minor concerto. Rana has been known for her individual, sometimes divisive interpretations, and to say she breathes new life into these concertos is no exaggeration.
Beatrice Rana
The album begins with one of the most electrifying accounts of Keyboard Concerto in D minor, BWV 1052 – it is not just in its extreme virtuosity or velocity (while tempi are certainly on the brisk side), but also in its focused energy, elemental power and Vivaldian drama. This is achieved through the intimacy between Rana and the conductorless orchestra, reminiscent of chamber music, and a close examination and realisation of the lights and shades in the music – listen to the suspense and pent-up energy in the cadenza (5:31-5:50) in the first movement (as opposed to a crescendo, which most soloists typically choose), and the buildup of tension (5:23-6:18) till the final ritornello in the third movement, creating a real sense of inevitability.
Beatrice Rana Plays Bach’s Keyboard Concerto No. 1 in D minor, BWV 1052 – I. Allegro
The outer movements are often taken at a breakneck speed, perhaps too fast for some, but never suffocatingly so – while her technical dexterity is self-evident, nuances are not sacrificed for celerity, and musical intentions remain lucid. Both infused with dance rhythms, the final movements of the E major and D major concertos abound with buoyancy, effervescence and utter joy, or joie de vivre, as aptly described by Rana. Pianistically, the most dazzling passagework (such as the brilliant filigree and bariolage sections in the D minor concerto) is executed with impeccable control, whereas the interaction between the keyboard and orchestra is defined with precision, taking the three-part imitation in the finale of the E major concerto as an example.
J.S. Bach: Keyboard Concerto No. 2 in E Major, BWV 1053 – III. Allegro (Beatrice Rana, piano; Amsterdam Sinfonietta)
Beatrice Rana Plays Bach: Keyboard Concerto No. 3 in D Major, BWV 1054
There are, of course, moments of lament and introspection in the slow movements. One of the best examples would be the Largo from Keyboard Concerto in F minor, BWV 1056 – a contemplative prayer that seems to speak to the higher power while remaining so human, with its sublime beauty almost capable of inducing Stendhal syndrome. The slow movements in the other concertos similarly enjoy poetic simplicity and sincerity, coupled with a beguiling cantabile.
Beatrice Rana Plays Bach: Keyboard Concerto No. 5 in F minor, BWV 1056 – II. Largo
While many are still debating over historically informed performance of Bach’s music, Rana has illuminated this enduring question with a refreshing sensibility – remaining faithful to Bach’s text, but at the same time exploiting possibilities on a modern piano (e.g. diversity in colouration, articulation) that would be otherwise impossible on a harpsichord.
What’s probably more striking, however, is the sheer delight of making music together and the music per se that emanates from the entire album. It is a timely reminder, particularly during this difficult time, that regardless of the circumstances, music articulates an unstoppable, unbridled joy as long as it exists.
The album was released by Warner Classics on 21 March 2025.
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