Melnikov marshals the crystalline timbres of his 1847 Streicher fortepiano with panache and clarity without in any way sacrificing the urgency of the musical argument … Intimacy also lies at the heart of Jean Guihen Queyras’s interaction with the Freiburger Barokorchester.

Queyras’s delicate tone, sensibility and technical bravura are ideal in the concerto, and he’s the perfect foil for the temperamental Isabelle Faust (violin) and Alexander Melnikov (piano) in the trio.

Queyras gives an intimately conversational account of the Cello Concerto, never turning it into a virtuoso vehicle for its own sake, and persuades the Freiburg Baroque Orchestra under Pablo Heras-Casado to give him equally gentle, refined support.

the unforced robustness of Queyras’ solo playing [is] completely in tune with the orchestra’s visceral rawness. It takes a bit of getting used to, but ultimately draws out all that is manful and emotionally direct in the music...Where opulence is called for Faust, Queyras and Melnikov provide it in spades. This is a golden rich performance, with highly inventive textures, that avoids slipping into sentimentality.

Queyras’ heroic traversal of the Cello Concerto’s enigmatic lyricism, on a 1696 Gioffredo Cappa with the attentive Freiburgers, should satisfy all who love this endearing score. But for me the high point of the trilogy as a whole is the D minor Trio, played with drive, devotion and acute attention to blended sonority. Hats off to all concerned.

an unqualified success, with some supremely-mature and sophisticated playing throughout the series elevating the project to must-have status for aficionados.

This is an absolutely terrific performance full of poetry, fire and passion.