Bach: Complete Works for Keyboard, volume 8
In the eighth volume by Alard of Bach’s works for keyboards, he explores in this edition music from Bach’s years in Köthen (1717-1723) and Wollny in his notes makes reference to the pieces being for his first wife, Maria Barbara. This designation raises eyebrows with a romantic idea that Bach was writing his music for his wife; but what is actually said is that she must have certainly heard this music coming to life and enjoyed it. The pieces coupled together for this album include the 15 inventions and 15 sinfonias, the French suites, in addition to some singular works, including the Sonata in d BWV 964, the violin ciaccona BWV 1004, the prelude and fugue in d, BWV 539, including three more pieces by Bach. The first portion of the album is performed on a pedal clavichord and the larger suites are performed on harpsichord.
I found this set fairly consistent with his other recordings in the set. He is a technically strong player that shows us no sweat when it comes to the more difficult passages; in these works this includes Bach’s inclusion of ornaments in the French suites. Alard includes 4 preludes by Couperin, which is different, helping “complete” the prelude-missing French suites. I also liked hearing the Bach ciaccona (BWV 1004) and the inventions and sinfonias on clavichord and not harpsichord, for variety with other recordings.
However I’m not as enthusiastic in general with Alard’s own contributions to the music. We call this the interpretation and there is certainly dogma around HIPP performance about how much we, as musicians, contribute our own commentary with what’s on the written page. Despite playing cleanly, I did pull up comparisons by Hantaï, Suzuki, Rousset, Sempé, four well-established harpsichordists, in companion pieces offered on this album, and found their contributions in speed, dramatic silence, and the treatment of melody (check out the French suite sarabandes) were typically far more interesting. I’d never go so far to say that Alard is a robotic player, but he is, I think, a more reserved player.
For those who liked his earlier installments in this series, I have little doubt you will like what he’s done here. The pedal clavichord used in 2 pieces is a rare treat to hear. For those who favor more dramatic interpretations may find this collection bland. A benefit of the grouping used in this recording is the ability to hear some of Bach’s pieces from a limited period in his composing history. The booklet notes reveal that François Couperin and Bach had a relationship through letters, which was new to me.
The recording is rather hot compared to others featuring music on harpsichord and clavichord. Harmonia Mundi continues to infuriate me with the graphic design of their booklets, using minuscule type. Blown up on a 27 inch monitor it’s fine, but many of us read these booklets on our phones and their layout makes reading the booklet infuriating. It’s actually not hard to make a friendly PDF for distribution with digital downloads that works well across a multitude of devices. At least, however, they are including a PDF booklet. Their working with a Bach expert in Peter Wollney to write the booklet notes is also in our favor.
