Composer: Johann Sebastian Bach
Works: Well-Tempered Clavier, Book I BWV 846-869; Well-Tempered Clavier, Book II BWV 870-893
Performers: Ottavio Dantone (harpsichord)
Recording: Rec: June 2000, Sala del Refettorio di S. Vitale, Ravenna, Italy
Label: ARTS MUSIC 47654-2 (Book I), 47657-2 (Book II)
Bach’s Well-Tempered Clavier stands as a monumental achievement in the keyboard repertoire, embodying the principles of counterpoint and harmonic exploration during the Baroque period. Composed during a time when the equal temperament system was still emerging, these collections of preludes and fugues invite a multitude of interpretations that reveal the depth of Bach’s genius. Ottavio Dantone’s recent recording of the Well-Tempered Clavier offers a refreshing perspective, distinguished by both its lively execution and the exceptional sonic qualities of the harpsichord employed.
Dantone’s performance is characterized by its kinetic energy and a palpable sense of joy, eschewing the staid, scholarly interpretations often associated with this masterwork. His choice of a harpsichord, a copy of a Blanchet by Olivier Fadini, produces a sound that is both rich and vibrant. The recording captures this instrument with remarkable clarity, thanks to a thoughtful engineering approach that positions microphones to embrace the spacious acoustics of the recording venue. The result is a strikingly present sound, where the bright treble and resonant bass complement each other beautifully, allowing listeners to appreciate the intricate interplay of voices inherent in Bach’s writing.
Dantone’s interpretative choices reflect a commendable understanding of Bach’s stylistic nuances. Notably, he employs different temperaments for each book: Werckmeister III for Book I and Kirberger for Book II. While this might elude the casual listener, the subtle distinctions in color and mood enrich the overall experience. His brashness, evident in his embellishment of the first prelude with a flourish not found in the score, serves as a declaration of intent—his approach seeks to invigorate the familiar with new life. This willingness to adapt and innovate results in interpretations that resonate emotionally without compromising the integrity of the music.
Specific pieces highlight Dantone’s versatility: the E minor prelude in Book I is rendered with clarity and excitement, the interplay of voices executed with a brisk tempo that enhances the overall buoyancy of the music. Conversely, the F sharp minor prelude is treated with a delicate touch, showcasing his ability to balance forcefulness with finesse. His ornamentation is particularly noteworthy; in the G minor prelude, the long trills are executed at a methodical pace, allowing the embellishments to enhance rather than overwhelm the musical lines. Such choices consistently demonstrate Dantone’s respect for the score while asserting a personalized interpretation.
The opening of Book II features a tender, introspective reading of the first prelude that contrasts sharply with the more aggressive renditions often encountered. Dantone’s humility in allowing the music to unfold naturally is refreshing, leading to a delightful C sharp major prelude, where his fresh ornamentation and inventive phrasing breathe new life into this well-trodden piece. His approach evokes a French sensibility, particularly in the F minor prelude of Book II, where he employs a detached touch that enhances the clarity of rhythm and voice leading.
Dantone’s performances transcend the often didactic nature of Bach’s fugues. He imbues them with a sense of playfulness and joy, making them not just exercises in counterpoint but rather enjoyable musical experiences. This recording stands among the finest available interpretations of the Well-Tempered Clavier on harpsichord, combining an exquisite instrument, masterful engineering, and a uniquely personal interpretative voice. Ottavio Dantone emerges as a significant figure in the landscape of early keyboard music, offering a refreshing and engaging vision of Bach’s enduring masterpieces. This set is indeed a valuable addition for anyone seeking to explore the depth and vitality of Bach’s art.
