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Reviewer:
Harriet Smith He’s particularly compelling in the least frequently performed of these, the B minor French Overture, which sets off with a grandeur that conveys Bach’s arching lines and imposing dotted rhythms, then finds a pleasing physicality in the faster-moving fugal writing; in the Sarabande he responds to Bach’s questioning lines with a gentle intimacy. In the same movement of the Fourth English Suite again he allows the phrases to hang in the air poetically without becoming too slow, and comes across far more naturally than Gould, who constantly tinkers with the tempo. However, I missed the blazing F major brightness of the Suite’s opening Prelude that Perahia and Gould capture so vividly. There’s no shortage of energy in the leaping Gigue, though Chiovetta sounds slightly breathless alongside Perahia, whose dance is more rhythmically grounded. It’s in the First Partita, however, that I find Chiovetta least convincing. His ornamentation tends to be overly careful (just compare him in the Sarabande with Levit, who achieves a flexible rhetoric that is at once personal and innate). Chiovetta’s Allemande is also a little staid; this is not down to tempo since Anderszewski – at a similar pace – finds greater grace and inwardness, while Pires is striking for her combination of drive and finesse of dynamics. Chiovetta’s Gigue too seems a bit reined in compared to Anderszewski’s breakneck exuberance (but then so do most mere mortals). The
booklet features an interview with the pianist that should have been a bonus had
it not been lost in translation, for I’m afraid I have no idea what ‘a skilful
dialectic systematically landing on its feet’ might be. |
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