Prior to having auditioned this set of French Suites, I had not known–except perhaps in passing of his prize at the 1973 Van Cliburn Competition–the artistry of Moscow-born Egveni Korliov (b. 1949), whose catalogue for Tacet embraces composers as diverse as Schumann, Schubert, Tchaikovsky, Debussy, and Prokofiev. His is a fine cantabile style, certainly a soft palette that he educes from the Steinway D-274 instrument, non-percussive, and measured for the dynamics between forte and pianissimo. The so-called “French” Suites of Bach–they really are diversely cosmopolitan in their dances as anything else he wrote–survey the elegant possibilities of three major and minor suites, each demanding various kinds of dexterity for arioso and polyphonic realization. That Koroliov basks in their structure and articulate grace is obvious from the outset; and his confidence in the brisk gigues, with quick, ad libitum flourishes in grace notes and apoggiaturas, testifies to his fluid mastery.
But as I discovered these works through individual artists like Gilels and Backhaus (on Suite No. 5 in G) and Robert Casadesus’ (on Suite No. 6 in E), what I find lacking in Koroliov is a distinct voice or personality through this otherwise pellucid music. For me, the Backhaus G Major French Suite played as an Italianate excursion; the Gilels was nothing if not spirited French pomp. The Gigue of the E-flat, BWV 815, for instance, rings with happy counterpoint and instrumental brio, but the emotional tone is almost flat, monochromatic; and I find this affective “evenness” evident throughout the set. The menuets are too stiff for my taste. While I admire the security in Koroliev’s playing, his intimate approach to the scores, and his ornamental fluency, there is less than excitement in these stylized performances. I would venture that too much of the Couperin and Rameau influence permeates these suites, except that these musicians, too, need not be–witness Angela Hewitt’s recent contributions–dry pedants. Other auditors – those who may worship at Koroliev’s altar – would likely single out the Bach sarabandes as special moments from him; but even here, too much ceremonial, dirge-like progression can kill even a funeral, wouldn’t you admit? Fine playing, but for the music, I suggest looking elsewhere.
— Gary Lemco
