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Bach: Partitas Nos. 1, 3 & 6
     

Bach: Partitas Nos. 1, 3 & 6

by Richard Goode
 
It has been more than four years since Richard Goode gave us his first installment of Bach's keyboard partitas. But, then, this pianist seems content to wait until he's good and ready before committing an interpretation to disc -- a rare and admirable trait in the fast-moving music business. And as impressive as the previous volume was,

Overview

It has been more than four years since Richard Goode gave us his first installment of Bach's keyboard partitas. But, then, this pianist seems content to wait until he's good and ready before committing an interpretation to disc -- a rare and admirable trait in the fast-moving music business. And as impressive as the previous volume was, this new recording is even more compelling, conveying a greater sense of each work's dramatic character. The A Minor Partita, for example, is urgent, even nervy, while the B-flat Major Partita is serene and sunny, and the massive E Minor Partita has, for all its grandeur, an underlying melancholy lyricism. There is a wealth of versions of these pieces in the catalogue, from the quirky brilliance of Glenn Gould and Andrew Rangell to the balletic pianism of Angela Hewitt and Andras Schiff (currently available only as part of a big box set of all Bach's keyboard music), but Goode's interpretations are so full of insight and so satisfying that no Bach lover can afford to miss them.

Editorial Reviews

All Music Guide - Patsy Morita
Richard Goode is known to be an excellent musical interpreter, and the performance of these Bach partitas is an example of his skill. He balances just the right amount of dynamic shading and freedoms with tempos to make these partitas come alive on the piano, but not sound overly dramatic. Most of the movements are so complex that keeping the musical lines clear and separate provides enough drama. Goode makes it obvious which lines are important and where each is going, even in the third and first partitas, where he uses fewer dynamic colorings. His touch is not too light and not too heavy, giving the sense that his performance would sound well on the harpsichord, although most of the dynamic coloring would be lost. The album starts with the least-known of the partitas, No. 3 in A minor, with its unusual movements (a Sarabande without the usual emphasis on the second beat; a "Burlesca" instead of a minuet; a "Giga" that is really a fugue). He takes a breather with the somewhat technically easier No. 1 in B flat major, then finishes with the tricky -- both technically and musically -- No. 6 in E minor. The sound quality of the recording gives the piano an intimate feel and although the performance is personal, overall it does not sound introverted. The liner notes give an accurate, movement by movement description of Goode's interpretation of Bach's intentions. In short, this is a good (no pun intended) introduction to Bach's partitas for keyboard.
Gramophone - Rob Cowan
[July 2003 CD of the Month] Goode treats line as paramount, stressing counterpoint only when and where it serves an expressive end.... Everything essential to the spirit is here: dance and reverie, clarity and form, digital brilliance.... Perhaps the finest solo Bach recital to appear this year so far. The sound is clean and luminous.
Wall Street Journal - Barrymore Laurence Scherer
[Goode] has never been a prolific recording artist, but the quality of his recordings has been conspicuously high.... [He has the] ability to illuminate the subtle varieties that Bach brought to Baroque dance forms [and] to balance the sonic demands of 18th century keyboard music with those of the modern piano.

Product Details

Release Date:
04/01/2003
Label:
Nonesuch
UPC:
0075597969825
catalogNumber:
79698

Related Subjects

Tracks

  1. Partita for keyboard No. 3 in A minor, BWV 827 (BC L3)
  2. Partita for keyboard No. 1 in B flat major, BWV 825 (BC L1)
  3. Partita for keyboard No. 6 in E minor, BWV 830 (BC L6)

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