- Concerto for 4 harpsichords, strings & continuo in A minor (after Vivaldi, RV 580), BWV 1065
- Concerto for harpsichord, strings & continuo No. 7 in G minor, BWV 1058
- Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056
- Concerto for solo keyboard No. 3 in D minor (after Alessandro Marcello), BWV 974 (BC L194): Adagio
- Concerto for harpsichord, strings & continuo No. 3 in D major, BWV 1054
- Concerto for harpsichord, strings & continuo No. 1 in D minor, BWV 1052
For his album of J.S. Bach's keyboard concertos, Alexandre Tharaud presents them on a Yamaha piano, with accompaniment from Les Violons du Roy, so the performances have a curious mix of modern and period sonorities that takes a little effort to appreciate. While it is true that Tharaud controls his playing by employing terraced dynamics, avoids using the pedals, and treats the piano as a light-textured instrument, reminiscent of a harpsichord or an early period fortepiano, there is still something disconcerting about its uniform, homogenous tone, especially when it is surrounded by strings playing with a passable Baroque sound. Even so, this halfway attempt to adapt to the proper period is preferable to some lush, overly Romanticized versions that go too far in the opposite direction, so Tharaud deserves credit for his restraint. Les Violons du Roy, directed by Bernard Labadie, plays with minimal vibrato and produces a burnished tone that has the distinctive sheen of historically informed interpretations, and the textures are quite light and transparent. Virgin's recording is clean and crisp, but the instruments are rather closely miked and the ambience is quite dry.