Johann Sebastian BACH (1685-1750)
Partita No. 2 in C minor BMV 826 (1731) (Sinfonia [4.38]; Allemande [4.23];
Courante [2.11]; Sarabande [3.58]; Rondeaux [1.32]; Capriccio [3.32])
Partita No. 1 in B flat major BMV 825 (1731) (Praeludium [1.52]; Allemande
[3.01]; Corrente [2.55]; Sarabande [5.02]; Menuett I and II [2.54]; Gigue
[2.22])
Franz LISZT (1811-1886)
Three Preludes and Fugues for Organ (arr. for piano by Liszt): C minor BMV
546 [10.25]; C major BMV 547 [8.29]; A minor BMV [9.43])
David Theodor Schmidt (piano)
rec. SWR Stuttgart, Kammermusikstudio, 26-29 July 2010
HäNSSLER PROFIL PH11025 [67.26] 
Many distinguished pianists have recorded the Bach partitas and a number,
including Ashkenazy, Gould, Hewitt, Schiff and Perahia, have recorded all
six. This is David Schmidt’s second or third recording of Bach original compositions
and transcriptions so he appears to have an affinity with the music. In this
recording he plays the first two partitas and, in a nice piece of programming
in this bi-centenary year, plays transcriptions of Bach organ preludes and
fugues by Liszt.
Bach’s keyboard music played on the piano often provides pianists with an
opportunity to be creative and inventive, while taking account of baroque
ornamentation and performance style. Schmidt’s account of the partitas is
very measured and solid and there is a nice variety of ornamentation reflecting
a thorough knowledge of the baroque idiom. In the repeats of particular movements
he adds additional ornamentation which is well judged and executed. He has
a nice tone and very good articulation so the contrapuntal textures are exceptionally
clear.
While this is very good playing Schmidt is not yet on the same par as the
greatest Bach interpreters. In order to elevate his playing to the next level
he needs to be slightly less constrained and rigid in his approach and to
allow himself greater artistic and creative freedom.
Schmidt’s playing of the first two movements of the second partita and the
sarabande was a little constrained. I thought he could have made more of the
dance elements of the music in the allemande and the sarabande. The courante
was better with Schmidt bringing out its wit and quirky nature. The rondeaux
and capriccio were played very well with Schmidt bringing a nice variety of
touch and some deft ornamentation to the former, and robust rhythmic propulsion
to the latter.
I preferred Schmidt’s handling of the First partita where he made good use
of baroque ornamentation. Again some of the movements were slightly constrained
and I partly missed that underlying baroque bounce and forward propulsion
that one hears in performances by Gould and Hewitt. Schmidt excelled himself
in the corrente which had some beautifully crafted phrasing and nicely judged
rhythmic propulsion. The gigue with its difficult hand crossing was managed
well and there was more of a feeling that he was letting himself go.
Schmidt does a good job in creating rich sonorities and textures for Liszt’s
transcriptions of the Bach organ preludes and fugues using a wide range of
tone colour, including some heavy bass notes, to imitate the sound of the
organ. He displayed a wide dynamic range and excellent control of the intricate
passage-work. The voicing of the fugues was generally very good although I
thought the first could have been clearer in one or two places. Overall these
were very well played and Schmidt deserves credit for including these lesser
known transcriptions in his recital.
Overall, this was a good recital but there is scope for this talented artist
to up his game further.
Robert Beattie
Overall, this was a good recital but there is scope for this talented artist to up his game further.