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Reviewer: Alan
Swanson Fabrizio Chiovetta has been generally well received in these pages, and will be so here. He opens his program with the challenging suite from the Clavierübung II known as the French Overture, which itself begins with a long Overture—something over a third of the piece as Chiovetta plays it here, with all the repeats. Though published in 1736, it was written earlier and in a different key (C Minor) before being revised and transposed for publication. This suite also has an “extra” movement at the end, an “Echo,” intended to exploit the two keyboards of a double-manual harpsichord. Chiovetta simply marks the second keyboard by playing softly. The First Partita (of six) comes from the Clavierübung I, published in 1731, and was probably written early in Bach’s time in Leipzig. It is in the usual six movements—seven if one counts the two minuets as separate pieces—and he plays them relatively straightforwardly. However, to give the minuets more heft, after the repeat of the second, he makes a frisky riff and plays the first minuet repeats straight through. Though not in the score, there is good precedent for this maneuver, and it does make a unity of the minuets. The English Suites are now thought to come from around 1715 and have, in any event, little to do with English music of the time, and certainly sound more French than anything else. The name was applied after Bach’s death by his first biographer, Johann Nikolaus Forkel. Again, Chiovetta plays this fourth one straightforwardly, on the whole; but interestingly, and rarely on this disc, in the second repeat of the Sarabande he introduces some discrete ornamentation. He deals with the Minuets here, too, as he did in the preceding Partita. The closing Gigue jigs cheerfully along to round out the program. For me, this was the best performance on this good recording. This is the current style of playing Bach on the piano: rather fast and slightly detached, especially in the fast sections. Chiovetta’s touch is not as heavy as some who essay this repertory, and that makes it easier to listen to. He does not reach for great pianistic effects, but does show that he is not imitating a harpsichord either. I have honestly to say I was delightfully surprised by this recording and can recommend it. | |
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