Outil de traduction (Très approximatif)
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Reviewer:
Jed Distler
Like his
traversals of the English and French Suites, Richard Egarr’s Bach Partitas
largely convey a rhythmic focus that underlines the music’s dance origins, in
contrast with the harpsichordist’s relatively looser-limbed Well-Tempered
Clavier and Goldberg Variations recordings. Rather than broach the Gigues as
virtuoso showpieces, Egarr gives the phrases room to sing and breathe, without
allowing occasional agogic stresses to derail the flow of the basic pulse. Nor
do embellishments on repeats obliterate the original melodies. The Allemandes
have more conversational wiggle room than usual, although the D major
Allemande’s protracted pacing and overlapping finger legato are rather heavy
going compared to Christophe Rousset’s lighter and faster elegance. The G major
Praeambulum’s florid runs and dramatic pauses transpire at a low-energy trot,
while, conversely, the D major and E minor Partitas’ grand opening introductions
are refreshingly animated and businesslike. Similarly, the A minor Partita
alternates between bracingly incisive (the splendidly articulated Corrente) and
boringly limp (the sedate Scherzo).
However,
Egarr’s Sarabandes are worth the price of admission. Here he takes ownership of
his slow-motion comfort zone, unleashing imaginatively wrought embellishments
with controlled freedom; I’ve never heard Egarr fuse heart, mind and fingers to
such a soulful degree. It also doesn’t hurt that Harmonia Mundi’s engineering
beautifully reproduces the dulcet colours characterising the Katzman
harpsichord’s quill plectra. Should you want a Partita cycle that splits the
difference between Rousset’s extroversion and the intimately wrought Masaaki
Suzuki edition, Egarr just might fit the bill.
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