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Bach’s Art of Fugue has, arguably, fared better on piano than harpsichord, especially in recent years, with fine renditions from Angela Hewitt (Hyperion, 10/14) and, perhaps surprisingly, Daniil Trifonov (DG, 11/21). The piano can soften the work’s austerities, produce textural variation and heighten the clarity of line. But Aapo Häkkinen’s very fine rendition on a 1614 Ruckers harpsichord leaves nothing wanting in terms of expressive power and transparency of line. I listened to this side by side with Gustav Leonhardt’s 1969 version (DHM, 10/79) and found myself equally satisfied by both versions.
Häkkinen casts Contrapuntus XII (inversus) as a quartet for viols (performed here with a bit of luxury casting, with Les Voix Humaines) and Contrapuntus XIII as a sprightly trio sonata with Anna Gebert on violin. These form a bridge to the four canons that round out the work. The unfinished 14th fugue isn’t included and Häkkinen has ordered the fugues to follow the original autograph order, with the addition of the Contrapuntus IV.
Tempos are stately and sensible, and none of the formidable demands made by the keyboard arrangement are daunting to the performer. Häkkinen’s use of agogic accents is particularly impressive, lending crystalline independence to the musical line without ever lapsing into affectation. Even the most chromatically complex of the fugues is rendered with ease, poise and sensitivity. The Ruckers instrument is an ideal choice, mellow but full of colour and warmth. The result is a harpsichord rendering that feels monumental without ever becoming severe or monochromatic.
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