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Reviewer: Richard Wigmore
Miklós Spányi has probably done more than anyone alive to promote CPE Bach’s waywardly inspired keyboard music, sometimes bizarre, even frustrating (so many tunes promised but not quite delivered), but never less than fascinating. With Vol 29 of his BIS intégrale he alights on three of the unappetisingly titled Zweite Fortsetzung (‘second sequel’) Sonatas, Wq52, plus two much later sonatas.
As on previous volumes, the powerful, percussive resonance of his chosen clavichord (a modern copy of a 1785 instrument by Gottfried Joseph Horn) seems amplified by the resonant acoustic. I’d be intrigued to hear how it sounds live. Spányi is, as ever, a fastidious player, keenly attuned to Bach’s particular brand of Empfindsamkeit, especially in the quasiimprovisatory slow movements. The soulful Andante of the late C minor Sonata, Wq65/49, gains from the clavichord’s quivering Bebung, an effect imposssible to obtain on the harpsichord or piano.
Doubts tend to arise in the faster movements, where Spányi favours slowish tempi and emphasises the discontinuities and fragmentations in Bach’s discourse, at the expense of linear flow. It’s a fine balance, of course. But turn to pianists
Danny Driver (Hyperion, 7/10) or AnaMarija Markovina, in her magnificent complete CPE survey (Hänssler, 3/15), and you’ll hear Bachian ‘sensibility’ combined with fantasy, playfulness and, where apt, devil-may-care brilliance. In the C minor Sonata’s fretful moto perpetuo finale Spányi sounds almost didactic alongside Markovina’s impulsive surge and sweep; and in his determination to stress Bach’s rhetorical quirks, he seems to forget that the finale of the F sharp minor Sonata, Wq52/4, is Allegro assai. Driver and Markovina both bring out the fire as well as the bizarrerie.
If you like your CPE on the fortepiano, Riccardo Cecchetti offers a selection of sonatas and fantasias from CPE’s Kenner und Liebhaber sets, playing on a notably rich-sounding restored instrument from the 1780s. Provisos, again, centre on some controversially deliberate tempi: say, in the outer movements of the D minor Sonata, Wq57/4, where he pulls the music back at the slightest provocation, or the opening of the E minor, Wq59/1, which you’d never guess was marked Presto. But Cecchetti understands Bach’s intensely personal rhetoric in the two fantasias, where the music so often resembles heightened speech. Here and in slow movements, he makes telling use of the fortepiano’s veiled sordino.
The sordino also enhances the wistful tenderness of the Andantino finales of Wq57/6 and 59/1, where Cecchetti’s inwardness and delicate timing and shaping of cadences epitomise all that is best in his thoughtful performances. |
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