I am impressed in many ways by this new recording of Bach's six Brandenburg Concertos. The Orchestra of the Age of Enlightenment has established itself as a leading period instrument ensemble in a remarkably short space of time and its two concerts of Brandenburgs at London's South Bank last year were as well attended as they were enthusiastically received. A feature of the performances that singles them out from their competitors is an absence of an overall artistic director. Each concerto, instead, is directed by a different member of the band. It is an approach which carries with it an element of risk but, on the whole, I feel that this particular brand of democracy has worked reasonably well in the hands of such experienced players as these. Nevertheless, there is undoubtedly a lost dimension in foregoing a particular individual's approach, whether or not it turns out to be to our taste. The four directors here, as it happens, are women: Catherine Mackintosh (Concerto No. 1), Monica Huggett (Concertos Nos. 2, 4 and 6), Alison Bury (Concerto No. 3) and Elizabeth Wallfisch (Concerto No. 5). All are violinists and all are experienced leaders of period instrument ensembles.

Few listeners are likely to be disappointed by interpretations on such a high level as these yet there are details and wider issues too, which may induce varied responses. The Concerto No. 1 in F comes over well with prominent and resonant horn playing and a sequence of well judged tempos. Intonation is insecure occasionally but seldom enough to mar one's enjoyment and Catherine Mackintosh's violino piccolo playing is sweeter in tone than that achieved by most competitors in the field. The Menuet and its two Trios with a Polacca are graceful, though I felt the Menuet itself could have had greater poise; its penultimate reprise, by the way, is played by the wind band alone, consisting of horns, oboes and bassoon.

The trumpeter in Concerto No. 2 in F is Mark Bennett who turns in a really splendid performance, dominating but never obliterating Bach's subtly coloured textures. His articulation is clear and his ornaments above reproach; and, unlike certain of his rivals, he pays heed to all of them. The remaining concertino players—recorder, oboe and violin comprise a strong team and, in the slow movement, I especially enjoyed John Toll's discreetly imaginative and pleasingly registered harpsichord continuo. The finale is a considerable achievement, detailed, unhurried yet exuberant. I enjoyed Brandenburgs Nos. 3 and 4, both in G, equally as much though feel that the opening movement of the Third Concerto is a little lacking in vigour and, perhaps, in spirit. It is elegant and polite playing which only in the finale, truly springs to life. Alison Bury's solution to the two chords separating the 'allegros' is effective; her brief solo violin flourish seems ideal. The Fourth Concerto fares especially well with dazzling solo violin playing from Monica Huggett, nicely judged tempos and rewardingly transparent textures. Her punctuation of the solos, especially of the first movement, may strike some listeners as a little contrived but I found it made wonderful sense of the melodic line.

The Fifth and Sixth Concertos, too, find this gifted ensemble on impressive form yet I would take issue with them on a number of details. The solo harpsichordist in the Fifth Brandenburg is Malcolm Proud, a player with a brilliant technique and an acute musical sensibility. His extended first movement solo is a tour de force but I wonder why he chose to play it in quite so mannered a way. The music is not allowed to unfold gracefully but suddenly flies at you like a trajectory controlled by varying forces. Bach possibly intended to show off the newly acquired instrument from Berlin as well as his own skill as a performer at this point in the score but the music is not entirely devoid of lyricism. Proud's approach would, perhaps, have greater propriety in the music of C. P. E. Bach than in that of his father. In the allegro finale, too, I felt the robust playing of bars 147–155, marked 'cantabile' by Bach, was misjudged. These matters apart the performance is captivating with an exquisitely shaped "Affettuoso" in which the three concertino instruments—flute, violin and harpsichord—play in trio sonata style providing both solo and ripieno elements.

I have seldom heard viola playing in the Sixth Concerto finer than that of Monica Huggett and Pavlo Bemosiuk. Their partnership conveys an astonishing level of technique and musicality throughout and is matched by animated playing by the remainder of the small string group. Yet I found the opening movement cool, unyielding and perhaps, a little too fast. So while I am certainly full of admiration for playing of this order, I feel that I have been denied access to Bach's intimate, one might almost say, private world. There is a perfunctory element here albeit veiled in virtuosity. The two other movements struck me as altogether more successful.