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Reviewer: Jonathan Freeman‑Attwood
This unusual disc takes as its starting point those succinct keyboard pieces, both stand-alone and developed later in collections (notably The Well-Tempered Clavier), that Bach used as material for teaching, mostly in Cöthen. Modestly shunning any claims of scholarship, Rinaldo Alessandrini has in fact assembled an ingenious miscellany – a compendium often coupling same-key preludes and fugues never previously ‘attached’, but following a practice more common than one might imagine.
The principal pleasure of this
‘divertissement’ is how a simple conceit is eloquently identified in
Alessandrini’s logical and attractive readings. Since the majority of these
pieces are not highly wrought contrapuntal essays, the effect is often a sunny
journey through Bach’s early melodic proofs and cathartic figuration,
exquisitely caressed for example in the conjoined BWV924 and 946, the latter on
a sturdy Albinoni theme Bach had doubtless picked up from someone else’s
travels. The Prelude of BWV902, conceived on a motif reminiscent of François
Couperin’s opening of the Messe pour les couvents, is a rare but wonderfully
satisfying concert piece, and so too those odd sketches of uncertain authorship
refashioned by Alessandrini with stylistic astuteness. |
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