BaL 25.05.04 - JS Bach: Keyboard partitas, BVW 825–830

[CallMePaul]

A new recording, released yesterday, on a 1790 piano!

https://www.prestomusic.com/classica...h-six-partitas

An excerpt was played on Record Review this afternoon before BAL. It sounded interesting and different from both harpsichorf and modern piano versions that I have heard.

[Pulcinella]

There are some interesting reflections on Hewitt's two recordings in the accompanying booklets.

The 1996/1997 recordings were made using a Steinway in the Beethovensaal, Hannover.
After the first CD (numbers 1, 2, and 4), she changed from working with the Recording Producer Otto Ernst Wohlert to working with the Recording Engineer on that set, Ludger Böckenhoff, who has remained as her Recording Producer. Sadly the split from Wohlert didn't go down well. For that second CD (numbers 3, 5, and 6) she was told that her trills weren't precise enough, that she could bring out the different voices more clearly, that she was rushing, and other things as well (finger nails clicking, extraneous technical noises).

The 2018 set was made using her own Fazioli piano, in the Kulturzentrum Gustav Mahler in Toblach/Dobbiaco (with Böckenhoff as producer).

She writes:

So what's different this time? Well, you'll have to listen to find out! Don't expect huge differences of Gouldian proportions. An allemande is still an allemande; a French courante should still not be rushed; a gigue must remain danceable. Twenty years of life have intervened – twenty years spent practising his music, always trying to do better, to bring it to life even more. The older we get, the more music means to us, and it gives me great joy to share these partitas with you once again.
[Angela Hewitt, copyright 2019]

[Roger Webb]

There are some interesting reflections on Hewitt's two recordings in the accompanying booklets.

The 1996/1997 recordings were made using a Steinway in the Beethovensaal, Hannover.
After the first CD (numbers 1, 2, and 4), she changed from working with the Recording Producer Otto Ernst Wohlert to working with the Recording Engineer on that set, Ludger Böckenhoff, who has remained as her Recording Producer. Sadly the split from Wohlert didn't go down well. For that second CD (numbers 3, 5, and 6) she was told that her trills weren't precise enough, that she could bring out the different voices more clearly, that she was rushing, and other things as well (finger nails clicking, extraneous technical noises).

The 2018 set was made using her own Fazioli piano, in the Kulturzentrum Gustav Mahler in Toblach/Dobbiaco (with Böckenhoff as producer).

She writes:

Thanks for that, as I mention somewhere I've been listening to the later Hewitts....and forgotten that she now uses the Fazioli, but noted the sound is beautifully bright and clear.

Funny about the clicking fingernails - I have the opposite problem....I have almost no nail on my right forefinger (over-enthusiastic gardening!) so guitar practice is somewhat curtailed.

[Mandryka]

I've been enjoying Giulia Nuti's recent recording (Arcana, Jan 2024) on a Hemsch copy harpsichord. .

I enjoyed the second, on the whole this set struck me as very middle of the road mainstream.

[Mandryka]

There are some interesting reflections on Hewitt's two recordings in the accompanying booklets.

The 1996/1997 recordings were made using a Steinway in the Beethovensaal, Hannover.
After the first CD (numbers 1, 2, and 4), she changed from working with the Recording Producer Otto Ernst Wohlert to working with the Recording Engineer on that set, Ludger Böckenhoff, who has remained as her Recording Producer. Sadly the split from Wohlert didn't go down well. For that second CD (numbers 3, 5, and 6) she was told that her trills weren't precise enough, that she could bring out the different voices more clearly, that she was rushing, and other things as well (finger nails clicking, extraneous technical noises).

The 2018 set was made using her own Fazioli piano, in the Kulturzentrum Gustav Mahler in Toblach/Dobbiaco (with Böckenhoff as producer).

She writes:

Honestly. I don't know why anyone bothers with her Hyperion Bach, any of it. There are so many others who are more interesting in these partitas, even on a Fazioli.

[Pulcinella]

Honestly. I don't know why anyone bothers with her Hyperion Bach, any of it. There are so many others who are more interesting in these partitas, even on a Fazioli.

Care to expand, Mandryka?
Who, and how, in your opinion?

[Mandryka]

Care to expand, Mandryka?
Who, and how, in your opinion?

Just quickly, on a Fazioli, I think the lyricism of Shoshana Telner makes for something special.

[Pulcinella]

Just quickly, on a Fazioli, I think the lyricism of Shoshana Telner makes for something special.

Thanks.
Found to stream on Deezer, but annoyingly (as mentioned elsewhere) it's in such a way that the movements are all jumbled up.
Should make for an interesting listening experience.

[Mandryka]

Thanks.
Found to stream on Deezer, but annoyingly (as mentioned elsewhere) it's in such a way that the movements are all jumbled up.
Should make for an interesting listening experience.

That's vey annoying -- I remember having that problem with Tidal, and so quit them. But it's on youtube here -- in the right order!

https://www.youtube.com/watch?v=NmINOWNXgXU&list=OLAK5uy_lhK1BF9xyvOUa5J3MpRnzm6G90oE1Uvys&ab_channel=ShoshanaTelner-Topic

[Pulcinella]

Oh dear.
Funny how tastes differ.
Shoshana Telner is definitely not for me (from what I've heard so far): automatic-pilot robotic playing with annoying ralls/rits and the end of movements.
Having seen/heard Hewitt play number 6 here in York last month, for me she wins 'hands down'!

[Barbirollians]

An excerpt was played on Record Review this afternoon before BAL. It sounded interesting and different from both harpsichorf and modern piano versions that I have heard.

Intriguing - Helmchen’s an outstanding player - sounds like by using a fortepiano despite the fact it dates from 30 years or so after Bach died he is attempting a halfway house approach.

[Beresford]

My current favourite on harpsichord is Pascal Dubreuil, who "possesses an acutely refined technique. You notice this mostly in slower, lyrical variations where the harpsichordist binds legato lines with subtly". (Quote from Gramophone about his Goldbergs).
Diego Ares on All of Bach (No 6 only) plays in a more energetic and slightly push-pull style. His dynamics are not like piano dynamics, luckily. They are dug out of the harpsichord somehow, which is interesting.

[Mandryka]

Intriguing - Helmchen’s an outstanding player - sounds like by using a fortepiano despite the fact it dates from 30 years or so after Bach died he is attempting a halfway house approach.

It's an interesting recording because the piano sounds colourful and delicate in Helmchen's hands. I think he's an outstanding musician. Expressive and natural embellishments, a good feel for how to play counterpoint.

[richardfinegold]

I realize the complete set is under discussion, but is there any love for Argerich in the Second?

[silvestrione]

I realize the complete set is under discussion, but is there any love for Argerich in the Second?

No one better in my view. There's the DG recording from yonks ago, but several more recent versions on youtube.

One could draw up a composite: Lipatti in first, Argerich in second, Gould in fourth, Piotyr A in 6...Perahia or Goode in the others?