Composer: Johann Sebastian Bach
Works: The Art of Fugue BWV 1080
Performers: Gustav Leonhardt, harpsichord
Recording: May 1953, Vienna
Label: Vanguard OVC 2011/12 [86.56]
Bach’s “The Art of Fugue,” completed in the final years of his life, stands as a monumental testament to his contrapuntal mastery and intellectual depth. Conceived as a comprehensive exploration of fugue as a form, this work transcends mere technical exercise, embodying a philosophical inquiry into the nature of music itself. With a structure that is both intricate and profoundly organic, “The Art of Fugue” invites performers to engage with its complex textures and rich harmonic language. Gustav Leonhardt’s 1953 recording, a significant historical artifact in the realm of early music performance, offers insights into Bach’s intentions, albeit through the lens of mid-20th-century interpretations.
Leonhardt’s approach to this monumental work is marked by a cerebral rigor that reflects his profound understanding of Baroque aesthetics. However, his choice of tempi often leans towards the leisurely, which, while providing space for the intricate counterpoint to unfold, at times risks sacrificing the vitality inherent in Bach’s writing. For instance, in the “Simple Fugue—Theme Inverted,” the deliberate pacing may render the music somewhat static, evoking a didactic rather than a expressive character. This interpretive choice illustrates Leonhardt’s commitment to clarity, yet it may leave listeners yearning for a more dynamic interplay between voices that is crucial for the work’s dramatic impact.
The harpsichord itself, while historically appropriate, presents a significant challenge in this recording. The instrument’s tonal quality is notably thin, particularly in the lower register, which often results in a hollow sound that diminishes the depth of the counterpoint. This sonic limitation is exacerbated by the recording technology of the 1950s, which lacks the refinement of modern engineering techniques. Consequently, the richness of the fugues and canons is undermined, particularly in the concluding unfinished fugue, where the out-of-tune harpsichord distracts from Bach’s intricate design. This technical shortcoming is a critical consideration for listeners, especially when compared to more recent and sonically sophisticated recordings, such as those by Davitt Moroney or Robert Hill, which offer a more engaging auditory experience.
Despite these challenges, Leonhardt’s interpretation does shine in moments of clarity and insight. His nuanced touch allows for moments of profound lyricism to emerge, highlighting Bach’s melodic lines amidst the dense counterpoint. The second fugue, for instance, is executed with an attention to the interwoven melodies that is both intellectual and moving. Leonhardt’s historical perspective, underscored by his advocacy for a singular keyboard interpretation, enriches the listener’s understanding of “The Art of Fugue” as a work rooted in a specific performance practice, even as it leads to some unavoidable compromises in sound quality.
The historical significance of this recording cannot be overstated, as it marks a pivotal moment in the evolution of “authentic” performance practices for Baroque music. Leonhardt, at just 25, demonstrated both courage and ambition, laying groundwork for future interpretations. However, for those seeking a definitive harpsichord rendering of Bach’s masterwork, this recording ultimately may feel more like a historical curiosity than a primary recommendation. While it offers valuable insights into Leonhardt’s early artistry and his vision for Bach’s complex web of counterpoint, modern listeners are better served by more recent interpretations that capture both the spirit and the sonic richness of this monumental work.
