Volume 10 • Benjamin Alard
Benjamin Alard’s recording of Bach’s keyboard works, continues here in its tenth volume, coupling the trio sonatas for organ (BWV 525-530) with selections from the Anna Magdalena Notebook.
(And yes, I find it necessary to point out once again Harmonia Mundi’s insistence in producing a booklet with text that is too small to legibly read on computer screens—especially so mobile devices.)
The first thing you’ll notice is that the trio sonatas for organ are played here on harpsichord and clavichord, both outfitted with a pedal system. I am no expert on such instruments, but I’ve always thought of them as potential practice instruments for organists. In the case of the clavichords, two instruments are coupled to keep the voicing separate, perhaps, I’m thinking, to cover the full gamut of pitches required.
No explanation is given in the notes for the choice of instruments here. The remaining two discs of music from the notebook assembled for Bach’s second wife is realized on another clavichord dating from 1763, with historical notes provided.
I can’t speak to the motivation, especially so since Alard has previously played on both harpsichords and organs in this series. I think that perhaps the opportunity to utilize these instruments may have come up, and this repertoire might have been ideally suited? Or else, the desire here was to recreate the theme of the “domestic” Bach, wherein we might be set to realize these pieces as they may have been practiced by W.F. Bach, Bach’s eldest son for whom many think these may have been compiled as pedagogical content.
The rationale aside, it provides us a unique opportunity to hear these pieces in new clothing, as they have been, of course, already widely recorded on organ.
A.M.B. Notebook
A clavichord does seem to be the most appropriate instrument for much of this repertoire. As a book from which I have played a number of these pieces, I am well-acquainted with its music and I immediately appreciated Alard’s ornamentation and touch on this particular instrument.
An early version of Bach’s French suite no. 1, BWV 812, is included in the book, and here I really like Alard’s treatment, offering some variation in the repeat of the dances. His approach and speed in the Allemande may frustrate some, I think the care is a reflection of the touch and sound of the instrument he’s playing, for which should crave that detail. I sometimes struggle to hear the Sarabande from this suite in convincing way, but Alard’s interpretation here is for me more satisfying than most. His phrasing of the Gigue, I feel, is on point, with the way he’s grouped the components of the main theme.
The instrument he’s made available to us through this recording is extraordinary and well-captured by Harmonia Mundi.
Gerlinda Sämann performs the vocal pieces with care. The balance of voice and clavichord for me seems realistic, showcasing just how quiet an instrument it is.
Equally successful is the recording of Bach’s third partita, BWV 827. The instrument’s limitations are perhaps more profoundly brought to light here, but the recording nevertheless is successful at pointing out the very real absurdity we have today in arguing whether this music ought to be played on a harpsichord or a piano. Clearly, Bach was comfortable moving his music across devices with different mechanical solutions toward making sound. What Alard doesn’t seem intent on doing is capitalizing upon the clavichord’s ability to differentiate loud and soft presses with dynamic variances; it’s not to say the dynamics are not there, but compared to some recordings I’m thinking of that seem to make this dynamic possibility a highlight of the performance, the result here is more subtle. I’m thinking this is likely an intelligent approach. His small pauses in the gigue when the harmony is especially rich? A nice touch!
The sixth partita is also included, BWV 830. In the opening movement’s contrapuntal section, here was the spot where I wanted Alard to capitalize upon the instrument’s ability to differentiate with touch and dynamics. The difference here in the text between this version and the final version that comes in Bach’s first opus is interesting, a difference I have failed to appreciate in the past.
There’s something to be said about this collection, small miniature pieces from the pen of different personalities, presented alongside the genius, longer-form pieces by J.S. Bach. Alard lets each of these have their light, giving each equal treatment.
For me this presentation, despite a few noises (mechanical or page turns, I can’t say), is a worthy successor to the 2-disc set released many years ago on Nonesuch by Igor Kipnis.
Trio Sonatas
The ornamentation in BWV 527’s opening Andante got my attention. The percussive nature of the instrument, perhaps, brings more notice to these figurations? The result is a nice one, I think. There’s also a stiffness in this approach, which I would link more to the instrument(s) used than to the player. It’s why I have enjoyed these pieces, this one in particular, in their arrangements by musicians for winds and strings. Each line in the trio texture gains in expressivity when played independently. We may never know if these were performed as such by Bach in his time. An organ might give a bit more sustain to fight what I’m calling stiffness, at least in its ability to sustain against other lines that are moving. Nevertheless, Alard’s performance here is detailed, sensitive, and he gets the slower middle movement to work, despite the quick decay in the instrument’s sound. It’s easy to turn up the volume, but I’d encourage you to try and listen to this at the harder-to-hear realistic volume to capture the delicacy afforded this music on the clavichords.
I didn’t feel the final movement, marked Vivace was fast enough for its marking. Yet I have to marvel at how clear the voicing is here between the three parts, which I wasn’t expecting. Despite the more stately speed, the piece still moves.
The sonata, BWV 526, like the one before it and one after, is realized upon a harpsichord (with a pedal board). The transparency afforded by the instruments used on the last three sonatas is less detailed upon this instrument. It’s trickery, of course, upon our ears for those already familiar with these pieces. Here, the opening movement, again marked Vivace I thought could have gone just a tad faster.
In the slow movement, Alard gives one hand a different sound with what I’m guessing is the buff stop? The technique of using the instrument’s own built-in voicing capacity with its two keyboards is a smart one at imitating the potential for voicing with different stops and keyboards upon an organ.
Alard does the same with in the final Allegro, I believe giving one hand a doubling with a 4’ course. I’d have liked to have heard a 16’ course with the pedal board, but I’m only curious. I’m still on the fence about how much I like those instruments that include at 16’ course.
As ever, Alard is a sensitive player, and in this collection, especially, he’s careful to bring a lot of clarity to his playing. At times, as with his earlier recordings in this series, I realize he’s got a strong internal metronome and doesn’t like to play in the sandbox of rubato. There is at least a bit that he’s willing to give us in the later discs of this production, but for the partitas, save for the rallentandos at the end, he’s a very regular, on the beat player.
My note is that when playing instruments that lend themselves heavily to the association with mechanics and being a machine, in the same way a music box is, that regularity can betray the humanistic side of this beautiful music. But I can also appreciate the artists’s consistency toward his interpretive style.
Final Thoughts
There is little doubt that at some point Harmonia Mundi will release this traversal of Bach’s keyboard works by Alard in some kind of giant set. For me, it may not include all of my favorite performances of his keyboard works, but it will be a set that I should like to own.
Two strengths stand out about this release, which is also present in the others: a) Alard includes music by other composers that help establish the world in which this music was created and performed; b) Alard is willing to seek out a varied instrumentarium to perform these works.
While not entirely historically accurate, the performance of the organ trio sonatas here on clavichord and harpsichord will nevertheless appeal to those who already have recordings of these on organ. Second, the 1763 instrument used on the second and third discs is an attractive instrument that seems well-suited especially to the short pieces and as an accompaniment to a strong singer. All around, a lot of music and a chance to hear it on well-chosen instruments.
