Compared to Mortensen's blend of eloquent virtuosity and tasteful discretion, the playing of Accademia Bizantina seems hard and unyielding, though there are nevertheless moments of great beauty.

…Ottavio Dantone and his Italian colleagues provide beautifully transparent and balanced renderings. Most successful… are the slow movements where Dantone lets the music breathe with a degree of genuine lyricism.

...here is a triumphant vindication of the authentic approach from the Milanese harpsichordist Ottavio Dantone and his Accademia Bizantina. His performances are free-flowing within the confines of the language, and he is not afraid to indulge in expressive fantasy, notably in the cool, pizzicato-dominated largo of the F minor Concerto BWV 1056. He is accompanied by just five energetic string players - one to a part - but the effect never sounds insubstantial, and the recording neatly integrates soloist and "orchestra".

Directing from the keyboard, Dantone avoids obtruding mannerisms and keeps the music dancing. Any novelty lies instead with the Accademia’s abbreviated forces – five string players, one to a part.