This album of just 37 minutes is a bit confusing and with no booklet offered (via Qobuz) I can only speculate about the production. It is composed of 18 tracks, each short, of pieces by Bach, from slow movements from concertos (such as BWV 1056), preludes (such as BWV 925-930), and vocal numbers (presented here by piano alone). The sound is not typical; we’re extremely close to the piano, and while we are spared mechanical sounds, we’re so close enough to feel as if our ears are turned toward the soundboard, our head underneath the open cover.
As ever, the pianist’s touch and articulation are on full display with this kind of sound, all the more again to marvel at.
Then on the Preludes, we’re no longer hovering over the pianist; the sound changes to something further away, as we’ve been assigned our proper place in the audience.
Strings come to help with the slow concerto movements.
There is not a singular mood here, but a predominate one. This album’s concept doesn’t work for me terribly well. Nor does the change in our relationship between miking. For those who might be looking for a way to spend an afternoon reading or hanging outside in the embrace of a hammock, this album may suit your mood. But otherwise, I think it’s an interesting experiment that doesn’t work for me. And it’s a shame because the musician’s artistry is as ever, high.