Concerti Grossi by António Pereira da Costa

As in an engaging conversation, each performer has their say and responds sensitively to one another. (…) the music vibrates, and this sensation is transmitted physically to the listener. The new CD by the Bonne Corde Ensemble, conducted by Diana Vinagre, comes as a clear recommendation for fans of Baroque instrumental music.

NDR Kultur (AL) | August 23 | Ulrike Henningsen

The Ensemble Bonne Corde presents a unique and enchanting repertoire in the concerti grossi of António Pereira da Costa, delivered in a highly inspired interpretation. It is distinguished by a beautiful ensemble sound, impeccable teamwork, and a natural, flowing lightness. The composer would surely have taken great pleasure in hearing it.

Deutschlandfunk – Die neue Platte – Alte Musik (AL) – August 23 | Bernd Heyder

*Attention! An absolute rarity! Proof that the Baroque period has not revealed all its pearls, the set of twelve Concerti grossi by António Pereira da Costa confirms the musical vitality of Lisbon in the eighteenth century, despite a relatively modest musical practice among the bourgeoisie. Corelli’s influence, evident throughout the concertos, is at once an homage and an attempt at stylistic fusion, since one encounters both the emblematic forms of the Italian tradition and the rhythmical signatures that are typically Iberian.

The missing cello part in the manuscript was reconstructed by Fernando Miguel Jalôto, the ensemble’s harpsichordist, and many incoherencies or notational errors were corrected. The exemplary realisation by the Ensemble Bonne Corde brings splendour and brilliance despite the reduced forces, and the concertino of violinists Sara DeCorso and Jacek Kurzydło is admirable in every respect, prolific in imaginative diminution.

The relevance of the character types alternates between the swinging rhythms of a gavotte (Concerto No. 8), the almost military accents of the Marcia (Concerto No. 10), and the softly effusive, very Italian largos. The ensemble delights in following the meanders of a counterpoint that is more adventurous than Corelli’s.

It is a pity that the harpsichord absorbs the dynamic subtleties with intrusive measured arpeggios—an Italian procedure that the theorbo handles more appropriately. This slight drawback cannot diminish the formidable commitment of the undertaking, supported by a superlative sound recording.*

CLASSICA – 5 STARS – February 24 | Philippe Ramin