Composer: Johann Sebastian Bach
Works: Partita No.1, BWV825; 6 Small Preludes from Johann Peter Kellner’s Collection; Fuga a Tre from Clavier Büchlein für W.F. Bach; 3 Minuets from Clavier Büchlein für W.F. Bach; 6 Preludes from Clavier Büchlein für W.F. Bach; French Suite No.5; Italian Concerto, BWV971
Performers: Richard Egarr, harpsichord
Recording: Rec: September 1995, Church of Maria Minor, Utrecht
Label: EMI CDZ 5697002
Johann Sebastian Bach’s harpsichord works stand as monumental achievements in the keyboard repertoire, embodying the rich tapestry of the Baroque idiom through intricate counterpoint and expressive nuance. This collection, featuring Richard Egarr’s interpretation, captures a selection of Bach’s solo keyboard pieces, including the notable Partita No. 1 and the French Suite No. 5, alongside less frequently performed gems. The historical context of these works, written during a period of profound musical exploration in the early 18th century, reflects Bach’s innovative spirit and mastery of form, making their interpretation a vital endeavor for any performer.
Egarr’s performance on a Joel Katzman harpsichord after Ruckers reveals the instrument’s capabilities, bringing forth a vibrant and crystal-clear sound that enhances the work’s delicate intricacies. The timbral variety is particularly evident in the opening Allemande of the French Suite No. 5, where Egarr adopts a light touch that complements the harpsichord’s natural resonance. This approach, while effective in certain movements, raises questions about the interpretative choices made throughout the recording. For instance, the tempo choices in the Partita No. 1 exhibit an inclination towards a “precious” style, which is beautifully realized in the Sarabande yet falters in the Minuets, where the slower pacing detracts from the lively character inherent to these dances.
The inclusion of smaller works, such as the six preludes and the Minuets from Anna Magdalena Bach’s notebook, provides a refreshing contrast to the larger constructs. These pieces, though diminutive, encapsulate the essence of Bach’s keyboard writing, offering insights into his stylistic evolution and pedagogical intentions. Egarr’s interpretation shines in the Andante of the Italian Concerto, where he deftly navigates the discursive nature of the movement, revealing an understanding of the music’s underlying dialogue. However, the rapid Presto finale feels somewhat rushed; Egarr appears to be swept up in its momentum, sacrificing precision for speed in a manner that can be jarring to the listener.
The recording quality is commendable, capturing the nuances of the harpsichord with clarity and depth. The spacious acoustics of the Church of Maria Minor contribute to a sound that is both intimate and expansive, allowing the listener to appreciate the textural complexities of Bach’s writing. While the engineering does justice to Egarr’s interpretative choices, it also lays bare the limitations of the performance when tempo and phrasing do not align perfectly with the music’s inherent drive.
Richard Egarr’s 1995 recording offers a compelling snapshot of a performer poised between tradition and innovation. While some interpretative choices may leave the listener yearning for a more varied approach to tempo and expression, the selection of works and the quality of the instrument present a significant contribution to the recorded legacy of Bach’s keyboard music. This disc serves as both an introduction to Egarr’s artistry and a thoughtful reflection on the repertoire, making it a worthwhile addition for those seeking to explore the depths of Bach’s keyboard genius.
