Texte paru dans: / Appeared in: Alpha |
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Reviewer: Peter
Burwasser These are clean, crisp performances of this touchstone music, imbued by no little élan and graciousness. Céline Frisch, an increasingly acclaimed French artist, explores the glories of this music in a pleasingly deliberate manner, with tempos that are not extreme, and with a steady metrical pulse. Some other contemporary harpsichord players, notably Richard Egarr and his extraordinary student, Diego Ares, play Bach’s music with more rhythmic freedom, employing rubato phrasing that may or may not be authentic (who really knows?), but that approach requires the elusive qualities of good taste and intelligence (well afforded to Egarr and Ares).
This is not, by any means, to suggest that Frisch is less interesting as a Bach interpreter. Her playing is, too, abundantly tasteful and smart, and listeners who favor a more straightforward aesthetic might prefer her approach. Technically, she is a powerhouse, with brilliant, bristling sound in the faster sections, although never in a showy manner. She plays a fine, colorfully toned modern instrument, made by Andrea Restelli in Milan in 1998, after a 1783 Christian Vater harpsichord. The release includes an eloquent and informative essay on the music by Peter Wollny, albeit no bio on this exceptional artist. I refer readers to Gavin Dixon’s erudite and positive Fanfare 39:5 review of Frisch’s recording of WTC Book I, which includes insightful comments on the instrument as it relates to the music. If you are in need of a well-produced, beautifully recorded, and wonderfully played harpsichord recording of this great music, look no further.
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