Composer: Johann Sebastian Bach
Works: Six Partitas, BWV 825-830
Performers: Christopher Czaja Sager, piano
Recording: July 1993, Doopsgezinde Kerk, Amsterdam
Label: HAENSSLER CD 94.104
Bach’s Six Partitas, BWV 825-830, constitute a seminal contribution to the keyboard repertoire, representing both his inaugural published collection and his final set of suites for keyboard. These works, steeped in the Baroque tradition, showcase an interplay of German contrapuntal rigor and French stylistic elegance. Sager’s recording offers a fresh perspective on these well-trodden compositions by employing three distinct pianos, each chosen to illuminate different facets of Bach’s intricate textures and emotional landscapes.
Sager approaches the first partita in B-flat major with a deliberate, measured tempo, reminiscent of Wolfgang Rubsam’s interpretation on Naxos. This slower pace reveals the subtle harmonic shifts and lyrical qualities often overshadowed by quicker renditions. The choice of a Yamaha piano enhances this reading with its relatively muted resonance, allowing the delicate counterpoint to emerge with clarity. Such an interpretation invites the listener to engage more deeply with the music’s inner voices, effectively transforming familiar passages into new discoveries.
Contrastingly, the second partita in C minor benefits from Sager’s use of a Bösendorfer piano. Here, the compactness of the instrument’s sound complements the piece’s darker tonalities. However, Sager’s markedly brisk tempo in this partita risks sacrificing the inherent gravitas of the music. While the allemande is charming and articulated with finesse, the faster movements, particularly the capriccio, feel somewhat rigid, lacking the fluidity one might expect. This inconsistency in tempo choices across the different works raises questions about Sager’s overarching interpretive vision. The third partita in A minor, played on yet another piano, demonstrates Sager’s ability to navigate the intricate fugal passages, yet the overall coherence within the set is diminished by his disparate approaches.
The recording quality itself merits attention. Captured in the acoustically rich environment of the Doopsgezinde Kerk, the engineering allows for a detailed representation of Sager’s nuanced touch. Each piano contributes uniquely to the sound palette, yet the balance sometimes tips toward a disjointed listening experience. The engineering captures the clarity of each note, yet the differences in instrument timbre can pull the listener’s attention away from the thematic unity that one might anticipate in a complete set.
While Sager’s interpretations may not coalesce into a singular artistic statement, they do provide an opportunity for listeners to explore the diverse interpretations of these cherished works. His readings are often compelling, particularly in the sixth partita, where the slow toccata breathes with an improvisatory character that is both engaging and refreshing. Yet, the overall experience feels uneven, leading to a mixed assessment of the collection.
This recording of Bach’s Six Partitas is a curious offering that, while not without its merits, ultimately lacks the cohesive vision that would elevate it among the pantheon of notable interpretations. It stands as a commendable exploration of the works, particularly for those intrigued by the use of varied pianos, but it may not satisfy purists seeking a more unified interpretative approach. The budget-friendly price makes it a worthwhile discovery, yet listeners should be prepared for an uneven journey through Bach’s timeless suites.
