Bach for solo harpsichord
2007; Oxford University Press; Volume: 35; Issue: 4 Linguagem: Inglês
10.1093/em/cam079
ISSN1741-7260
Autores Tópico(s)Bach Studies and Logistics Development
ResumoWith repertory ranging from three works in the Möller Manuscript to The art of fugue, this batch of recordings spans most of J. S. Bach's creative working life. The interpretative accounts vary from traditional brilliance to enlightened experimentation, thus providing a snapshot of today's ever-diversifying throng of musicians in the arena of historically informed performance. Variety is most apparent in the two contrasting sets of Bach: Well-tempered clavier, Book 1. Whilst Luc Beauséjour (Naxos 8.557625–26, rec 2005, 111′) plays on a delicately quilled Saxon-influenced instrument, Peter Watchorn (Musica Omnia mo0201, rec 2005, 145′) uses a resonant pedal harpsichord, where the manuals are after Ruckers, Blanchet and Taskin, and the pedals follow the general scaling of the Hass workshop. With the exception of four preludes, the sonorous tones of Watchorn's instrument result in performances that are slower (and often grander) than Beauséjour’s. The independent pedal division comes into its own in the conclusive bass entries of subjects in the five-part fugues, and the ricercare-like Fugue in C♯ minor unfolds like a cataclysmic Gothic drama. Such conviction is reminiscent of Wanda Landowska and, similarly, there are some quirky mannerisms. The Prelude in E minor opens with a curious hiatus and the modulation into C major is highlighted disproportionately, suggesting that one has unwittingly become party to an aural analysis. The fugues in C, F and F♯ minors also sound somewhat laboured: but elsewhere the pacing is masterful. Contrapuntal lines are well delineated with crisp and, in the case of the Fugue in F major, characterful articulation. Registral changes are judiciously employed within pieces, allowing for essential episodic relief in the anguished ‘Crown of Thorns’ Fugue in B minor. Given the use of da capo in the Goldberg Variations, Watchorn's ensuing repeat of the opening prelude seems surprisingly unusual here. Its striking reappearance effectively completes the tonal circle.
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