You would hear some robust words from Mahan Esfahani if you dared suggest the harpsichord wasn’t an attractive solo instrument for a concerto – but even he will admit that in the 20th century it took a special kind of composer to write one for it. The latest addition to Esfahani’s eclectic discography highlights three of them, all Czech, all grappling in their time with how to make something modern using an instrument so strongly associated with the past. It’s an ear-opening recording.
