I frankly expected to be rather bored with most of the music on this new CD, but that wasn’t the case at all. I had just been listening to an old reissue of some of Wanda Landowska’s Bach, and the overloaded and steely sound of those recordings caused me to hit Open before the disc was finished. Then I put on this CD and the rich, varied and natural sound of the harpsichord was such a relief. It is a modern copy of one of the Haas instruments of the late 18th century, and it turns out one of the most extravagant Haas instruments – with all the gadgets and alterations – was the model for the Pleyel harpsichord Landowska played. That was really more of a plucked piano than an accurate copy of a harpsichord. The instrument on this recording is entirely different and has a non-irritating, even lovely sound.
The six selections begin as early as BWV 767 and run thru BWV 992. They show that although later in life Bach was seen as rather a stick-in-the-mud traditionalist, in his youth he wanted to offer an alternative to the prevailing music of his time, and tried to give the north German style a fresh sound. There is a light, almost enthusiastic touch in these works not heard in latter Bach. Also, a certain sly humor which reminds one of Mozart – not heard in most of Bach’s later works.
A good example of this is the Capriccio on the Departure of a Beloved Brother, BWV 992. One of the composer’s very few programmatic works was inspired by Kuhnau’s Biblical Sonatas. It has headings for the various sections telling us what we will be hearing – included the sound of the post horn announcing the departure of the brother’s carriage. Some of the works, such as the three-part Toccata in G Major, are way beyond standard keyboard works of the time. Its second movement seems inspired by a Corelli trio sonata and is full of busy embellishments. The last movement is a sprightly gigue which requires absolute virtuosity of the performer in handling all the racing ornamentation.
– John Sunier
