Johann Sebastian Bach (1685-1750)
The Art of the Fugue: Contrapunctus 1-19
Peter Elyakim Taussig, piano
Recording Date: April 2001
Label: Crystal Music MS 102
Total Time: 73:25
Peter Elyakim Taussig’s recent recording of Bach’s The Art of the Fugue offers a fascinating exploration of this monumental work, one that continues to challenge interpreters with its intricate counterpoint and profound structural design. Taussig, a Canadian pianist whose career was transformed by the onset of Carpal Tunnel Syndrome and arthritis, has developed a technique he calls “Musical Sculpting.” This innovative approach enables him to navigate the complexities of Bach’s contrapuntal writing using only his left hand and a computer interface, thus producing a recording that is both a technical achievement and a deeply personal interpretation.
One might initially approach this recording with skepticism, as the idea of a pianist manipulating musical phrases through a computer could suggest a performance lacking the spontaneity and nuance that live playing typically provides. Yet, Taussig’s execution defies such assumptions. From the outset with Contrapunctus 1, he adopts a slow, flexible tempo that allows the listener to appreciate the richness of Bach’s harmonic language. However, this interpretative choice reveals a stark contrast when juxtaposed with the brisk tempo of Contrapunctus 2, where Taussig’s rhythmic vitality infuses the music with an almost syncopated drive. While this rapid pace is certainly invigorating, it raises questions about the coherence of the overall interpretation. The disparate tempos may create a sense of fragmentation, momentarily obscuring the unity that is essential to The Art of the Fugue.
Taussig’s embellishments, particularly in the opening of Contrapunctus 4, introduce an element of surprise; however, they can also risk alienating purists who might prefer a more textually faithful rendition. His ornamentation, while audacious, fits within a broader artistic vision that seeks to reinterpret Bach through a contemporary lens. This approach resonates with the ethos of Glenn Gould, who championed the recording as an art form unto itself. Gould’s influence is palpable not only in Taussig’s willingness to deviate from traditional interpretations but also in his meticulous attention to detail. The recording breathes life into the fugues, allowing each voice to emerge with clarity, although occasionally, the prominence of the left-hand lines can overshadow the treble.
The recording quality is exceptional, with the Yamaha Disklavier PRO reproducing a sound that is palpably resonant and rich. The engineering captures the nuances of Taussig’s playing, ensuring that even the subtleties of articulation and dynamic shading are conveyed with fidelity. This contrasts with many MIDI-driven performances that often sound mechanical and lifeless. Taussig’s ability to manipulate the recording process allows for a depth of expression that one would not typically associate with such a technically executed performance.
One notable aspect of this recording is Taussig’s decision to omit Bach’s canons, which are integral to The Art of the Fugue. While he includes Contrapuncti 12-15, the absence of the complete canon structure could be perceived as a significant oversight. The canons provide essential context for understanding Bach’s contrapuntal ingenuity, and their exclusion raises questions about the interpretative completeness of this project.
In conclusion, Peter Elyakim Taussig’s rendition of The Art of the Fugue is a bold and innovative interpretation that challenges conventional performance practices while illuminating Bach’s genius. While the choices regarding tempo and ornamentation may invite debate, they ultimately serve to underscore Taussig’s artistic vision. In an era where many performers shy away from originality, Taussig’s courage in reimagining this canonical work is commendable. For listeners open to new interpretations of Bach, this recording offers an intriguing perspective worth exploring.
