Tag: Keyboard music

Masaaki Suzuki harpsichord
69:04
BIS-2221 SACD

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The set of ‘Six toccatas, for the clavir’ mentioned in the 1750 catalogue seems to have been among Bach’s early compositions. No autograph copy survives, but copies of older versions of BWV 912 and 913 existing in Johann Sebastian’s older brother’s hand seem to date from around 1704. Christoph Wolff dates the revised set of six – a set like the Sei Soli or the French and English Suites – to around 1707-8, with the G major BWV 916, with its distinctive and Italianate concerto three-movement structure, added or linked to them in around 1710. The earlier Sei are more truly in the North German style, with opening flourishes and some solid homophonic chords that establish the tonality, followed by the first of the fugati, then a slower passage of a more truly melodic type before a further fugue that leads to a conclusion. So, although the pieces appear to be extended improvisations and are marked manualiter, they follow the models that culminate in Buxtehude’s great pedaliter organ works, whether described at toccatas or not.

These pieces bear all the hallmarks of the improvisatory style of the truly instrumental stylus fantasticus, as Athanasius Kircher calls it. This kind of improvisatory composition, free from the constraints of setting a text or a descriptive programme, is therefore able to reflect the composer’s immediate response to his circumstances like the instrument he had been asked to test or the mood he was in. In England, these became known as fantasias, whether for keyboard or groups of viols, while the generic title for Bach’s semi-improvisatory works is toccata.

You can imagine Johann Sebastian being asked to try out a new harpsichord and using the traditional passagework with runs and arpeggios to test the evenness of the instrument throughout its range leading to more chordal sections to test the resonance; fugal sections test the clarity of the instrument in part-writing and somewhere there will be a more melodic passage to see how well it sings. Later these elements would be refined to the Prelude and Fugue that formed the more disciplined structure of the components of the 48, but at this stage earlier compositional models were being explored.

Suzuki is a seasoned keyboard performer, though better known for directing his Bach Collegium Japan and for being the source and inspiration behind the complete set of cantata recordings, secular as well as sacred. The best historically informed practice underscores his playing, and this is a mature, relaxed and apparently effortless performance. Arpeggios and arabesques are tossed off, fugues are shaped with a clarity of articulation that shows he understands their deep structure and under his hands the instrument – a copy of a substantial two-manual Ruckers by Willem Kroesbergen of Utrecht in 1982 – is coaxed into singing rather than hammered into jangling. This is as good an introduction to Suzuki’s keyboard playing as any and we can appreciate his musicianship at work in these complex and varied works.

David Stancliffe

Tilman Skowroneck harpsichord
69:03
TYXart TXA19133

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This recital by Tilman Skowroneck, a former pupil of – amongst others – Gustav Leonhardt, marks his homage to a fine instrument built by his father Martin Skowroneck in 1976 and to Leonhardt himself.

The harpsichord was first installed in a mansion in Baltimore, where the teenage Tilman remembers seeing it set up on temporary cavaletti, but then bought back after its owners’ demise by Martin in 2009 and re-installed in what was Martin’s (and is now Tilman’s) music room in Bremen. It is a copy of a Christian Zell now in Hamburg’s Museum für Kunst und Gewerbe dated 1728. It was re-quilled before this recording, and the light voicing of I suppose the upper rank makes it a very suitable choice for the version of the E-flat lute sonata BWV 998, which Bach marked ‘for lute or harpsichord’ on the title page of the autograph and can be dated around the mid 1730s. As well as the sixth of the English Suites, Skowroneck plays a transcription of the violin partita in D minor (BWV 1004) taking it down a fifth into G minor, which was a favourite piece of his for recitals. Leonhardt made these transcriptions in the spirit of Johann Sebastian arranging some earlier violin concerti for harpsichord for performance at the Leipzig Collegium Musicum evenings and Bärenreiter now publishes them; but Tilman made and plays his own version, transcribing Leonhardt’s published recording, for performance at a series of memorial concerts for Leonhardt after his death in 2012.

The instrument is certainly very easy to listen to. It is pitched at A=415 and tuned to a ‘modified Temperament Ordinaire’. This tuning certainly favours the flat keys of the chosen pieces. There is an odd resonance to the tenor F sharp, which I find rather distracting; at first, I thought it was my mobile phone buzzing in my pocket, but it is definitely that particular note on the instrument.

Tilman plays persuasively, and is a member of the stroking rather than hammering brigade, so his CD is easy to listen to, and a fine tribute to his father’s craftsmanship and his mentor’s musicianship. The music he has chosen is not frequently recorded, which makes the CD of more than usual interest. His website contains further information and has clips of more recent recordings of French music.

David Stancliffe

Terence Charlston clavichord
62:04
divine art dda 25204

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I had not heard Froberger played on a clavichord before and wondered how it might work, but in the capable hands of Terence Charlston this recording is a resounding success. While one might miss the variety of registrations possible on the organ, letting the player build up the texture in successive sections, the clavichord compensates by allowing for subtle dynamic differences and providing the ability to hear individual voices clearly. Charlston plays on a copy of a South German fretted clavichord from c. 1700, in its putative original configuration, by Andreas Hermert; this is reasonably close to the time of the composition of the music and provides Charlston with what he thinks is the ideal clavichord for the job. The instrument is well recorded, with just a small amount of instrument noise to give it a ‘live’ feel. He concentrates on the fantasias and canzonas from Froberger’s 1649 manuscript, which bridge the gap nicely between the ricercars and canzonas of Frescobaldi and the contrapuntal music of Bach. Both genres are sectional, showing off Froberger’s remarkable ability to create extended pieces out of minimal material, varying the metre while keeping a steady tactus, something Charlston brings out very successfully. He uses subtle ornamentation to keep the sound going, including the vibrato-like Bebung which also changes the pitch slightly. He exploits the unequal semitones of his mean-tone temperament in a number of pieces with chromatic subjects. Sleeve notes are very informative. Charlston’s joy in bringing this music to life shines through and I can strongly recommend this recording.

Noel O’Regan

Colin Booth harpsichord
147:34 (2 CDs)
Soundboard Records SBCD 219

David Stancliffe gave a warm welcome on this site to Colin Booth’s recording of WTC Book I when it appeared nearly two years ago and I am happy to confirm that his follow-up recording of Book II is equally fine. Booth uses the same harpsichord (his own copy of a double-manual Nicholas Cellini instrument of 1661) and tuning system (Kirnberger III) as before, and the recording displays the same clarity in the part-writing in what is a warm and chamber-like acoustic. This harpsichord is particularly good at projecting all the lines in dense contrapuntal textures and Booth uses this very effectively. He eschews virtuosity for its own sake, and these are generally straightforward accounts, falling somewhere between the recent recordings by John Butt and Richard Egarr as regards tempo and reflectiveness. Booth adds many judicious ornaments while never letting them interfere with the line. I particularly like his rhythmical flexibility in the preludes which allows him to negotiate some of the trickier notational corners with ease, as in both F sharp preludes. His astute ‘swinging’ of the beat here and elsewhere produces convincing results. In contrast, the fugues can seem a bit rigid at times, particularly those in the more old-fashioned style, though the more modern ones certainly bounce along nicely. There is a very comprehensive set of liner notes with information about the instrument and the rationale behind Booth’s choice of tuning system, in the light of Bach’s understanding of the term ‘well-tempered’. There are also some perceptive notes on the musical qualities of the second book. Overall, this is an excellent and very welcome recording which showcases Booth’s thoughtful interpretations, and much will be learnt from a careful listening to it.

Noel O’Regan

Simonetta Heger
62:36
Dynamic CDS7841

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Sammartini was a prolific composer, known primarily for his symphonies and operas which helped nudge music toward the Classical style. His considerable chamber output includes nearly forty solo keyboard sonatas which have hitherto been rather neglected. Those recorded on this CD are found in manuscript sources covering much of the composer’s life and mirror his stylistic developments from the 1720s up to the 1760s. They have just one movement and generally follow the same form as Domenico Scarlatti’s sonatas, with two sections, two or more themes, and a certain amount of development before a loose recapitulation. Almost all are in major keys and there is a certain sameness about Sammartini’s use of figuration, but there is some considerable variety in the music presented here. Heger plays on a copy of a 1720 Christian Vater instrument built by Carlo Mascheroni which is closely recorded in a chamber-type acoustic and well suited to the music. She is a sympathetic, if somewhat safe, interpreter: I would have welcomed some more flamboyance and excitement in the playing. Tempi are solid but the momentum does slip now and then. That said, it is good to have these works available and it makes a useful collection to dip into and to compare with other keyboard music from these decades. 

Noel O’Regan

Luigi Accardo, Enrico Bissolo harpsichords
74:41
Stradivarius STR 37118

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This single disc contains three of Couperin’s fine Nations, 1 La Françoise, 3 L’impériale and 4 La Piémontoise. Each ordre begins with a splendid sonata which is succeeded by a set of dances – the conventional four and a few extras. We often hear this lovely music recorded with pairs of violins, flutes, etc., above the continuo with constantly (and distractingly, I find) changing instrumentation, sometimes even mid-movement. However, this performance goes to the opposite extreme, taking up the composer’s suggestion that two harpsichords ‘as I play them with my family and students’ can do the job ‘quite successfully’.

Actually, I think Couperin might well have felt that this duo bring it off ‘very successfully’. With two excellent double-manual instruments at their disposal (which they exploit with restraint and bon gôut), the performers give us a consistently rich and pleasing sound and their ensemble in all matters is exceptional. The only (minor) flaw in their plan is built into the system – the doubled bass sometimes feels a bit too strong. However, as a member of a regular duo myself, I can testify that only reviewers ever comment on this!

The booklet (in Italian, English and French) tells us what we need to know although the ‘English’ is pretty grim, especially in the biographies. But I really enjoyed the playing.

David Hansell