Andras Schiff - Bach: Six Partitas
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CD Details
Artist: Andras SchiffComposer: J.S. Bach
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2009-08-25
Music Label: ECM NEW SERIES
Soundtracks:
Music CD 1
- Partita for keyboard No. 5 in G major, BWV 829 (BC L5): Praeambulum
- Partita for keyboard No. 5 in G major, BWV 829 (BC L5): Allemande
- Partita for keyboard No. 5 in G major, BWV 829 (BC L5): Corrente
- Partita for keyboard No. 5 in G major, BWV 829 (BC L5): Sarabande
- Partita for keyboard No. 5 in G major, BWV 829 (BC L5): Tempo di Minuetta
- Partita for keyboard No. 5 in G major, BWV 829 (BC L5): Passepied
- Partita for keyboard No. 5 in G major, BWV 829 (BC L5): Gigue
- Partita for keyboard No. 3 in A minor, BWV 827 (BC L3): Fantasia
- Partita for keyboard No. 3 in A minor, BWV 827 (BC L3): Allemande
- Partita for keyboard No. 3 in A minor, BWV 827 (BC L3): Corrente
- Partita for keyboard No. 3 in A minor, BWV 827 (BC L3): Sarabande
- Partita for keyboard No. 3 in A minor, BWV 827 (BC L3): Tempo di Minuetta
- Partita for keyboard No. 3 in A minor, BWV 827 (BC L3): Passepied
- Partita for keyboard No. 3 in A minor, BWV 827 (BC L3): Gigue
- Partita for keyboard No. 1 in B flat major, BWV 825 (BC L1): Praeludium
- Partita for keyboard No. 1 in B flat major, BWV 825 (BC L1): Allemande
- Partita for keyboard No. 1 in B flat major, BWV 825 (BC L1): Corrente
- Partita for keyboard No. 1 in B flat major, BWV 825 (BC L1): Sarabande
- Partita for keyboard No. 1 in B flat major, BWV 825 (BC L1): Menuet 1
- Partita for keyboard No. 1 in B flat major, BWV 825 (BC L1): Menuet 2
- Partita for keyboard No. 1 in B flat major, BWV 825 (BC L1): Gigue
- Partita for keyboard No. 2 in C minor, BWV 826 (BC L2): Sinfonia
- Partita for keyboard No. 2 in C minor, BWV 826 (BC L2): Allemande
- Partita for keyboard No. 2 in C minor, BWV 826 (BC L2): Courante
- Partita for keyboard No. 2 in C minor, BWV 826 (BC L2): Sarabande
- Partita for keyboard No. 2 in C minor, BWV 826 (BC L2): Rondeau
- Partita for keyboard No. 2 in C minor, BWV 826 (BC L2): Capriccio
- Partita for keyboard No. 4 in D major, BWV 828 (BC L4): Ouverture
- Partita for keyboard No. 4 in D major, BWV 828 (BC L4): Allemande
- Partita for keyboard No. 4 in D major, BWV 828 (BC L4): Courante
- Partita for keyboard No. 4 in D major, BWV 828 (BC L4): Aria
- Partita for keyboard No. 4 in D major, BWV 828 (BC L4): Sarabande
- Partita for keyboard No. 4 in D major, BWV 828 (BC L4): Menuet
- Partita for keyboard No. 4 in D major, BWV 828 (BC L4): Gigue
- Partita for keyboard No. 6 in E minor, BWV 830 (BC L6): Toccata
- Partita for keyboard No. 6 in E minor, BWV 830 (BC L6): Allemanda
- Partita for keyboard No. 6 in E minor, BWV 830 (BC L6): Corrente
- Partita for keyboard No. 6 in E minor, BWV 830 (BC L6): Air
- Partita for keyboard No. 6 in E minor, BWV 830 (BC L6): Sarabande
- Partita for keyboard No. 6 in E minor, BWV 830 (BC L6): Tempo di Gavotta
- Partita for keyboard No. 6 in E minor, BWV 830 (BC L6): Gigue
Music reviews of Bach: Six Partitas
Music Review: fine bach and second best only to ... schiff
Rating: 4 Stars
i first want to echo the very positive sentiments of the other reviewers. the sound is extraordinarily good for a live recital, and emi has the uncanny engineering skill to mike an instrument at exactly the sweet spot where neither hall acoustics nor performance mechanisms (breathing, humming or instrument clatter) intrude on the music.
these live performances are vigorous, alert, sharply contrasted, and clearly voiced (there is no hint of pedal). schiff's arrangement of the partitas to form a complete program or "suite of suites" is welcome and convincing.
all that said, there is something about schiff's first traversal of the partitas, back in the 80's on london records, that is to me more unaffected, more alluring and, in effect, more humble. i do not really enjoy the aspect of modern pianism (native to the competitive, faddish and precarious environment of professional musicianship) which is expressed as a style of playing that amounts to "look at how i can play the hell out of this music!" there is a point where articulation, precision, contrast, ornamentation and clarity become ends in themselves, and to my ear there is plenty of that on display in this recital.
on repeated listening i wearied of the excessive use of a very crisp, somewhat loud, staccato or martello articulation (is this supposed to mimic a harpsichord?) in all except the slowest movements, a tendency to blur or ignore the tempo of ornamented textures or the concluding half of repeated sections (try tapping along the beat of the g major corrente or a minor gigue), schiff's odd use of breathing pauses and abrupt dynamic changes to break the flow of brisk movements, and a preference to give both or all voices in two or three part textures an equal dynamic weight but contrasting affect (legato over staccato, contrasting ornamentation, etc.) as a kind of audible finger juggling stunt.
bach is already complex and profound enough: that is the assumption on which all interpretations should be framed. no secret sauce is required or appreciated. bach, not the pianist's stylizations or the pianist's fingers, should always be the focus of attention. on that account, i prefer schiff's immaculate first recording, and rank this mature recital, splendid as it is, second to the simplicity and sincerity of his youthful account.
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Description of Bach: Six Partitas
Andrįs Schiff's new live-recording of some of the most beautiful piano music by Johann Sebastian Bach. Schiff has long been recognized as one of the leading Bach interpreters on the modern piano. His playing combines spontaneity, intellectual depth, and a ravishing sound with flawless technical finish. Following his worldwide success with Beethoven, his new Bach is certain to receive wide media attention. Booklet includes an extensive essay on the recorded repertoire and a performer's note by Andrįs Schiff.These partitas are offered out of traditional sequence - V, III, I, II, IV and VI. Although there is no reason to think that Bach wrote the partitas to be performed together, this arrangement provides the most logical key progression (G - a minor - B flat - c minor - D - e minor). From his side of the footlights, Andrąs Schiff also notes that in live performance the inner tranquility of the B-flat major partita (traditionally #1), is something that live audiences are seldom ready or settled-in to hear. As one would expect, you can't hear Schiff using any pedal, but the abstinence is much more pronounced than his earlier recording or most other prominent renditions. The effect is liberating. Free from lingering harmonics, this performance seems dedicated to the melodies within, as line and voice assume a clarity seldom heard. Recorded live in a 16th Century former armory in Neumarkt, Germany, there is an almost eerie lack of audience noise, although the placement of left and right hands in the stereo image is nigh on perfect. Schiff leads the listeners unflagging attention in an unbroken thread for hours. Masterly. -- Hugo Munday
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