It is pretty evident that Daniel-Ben Pienaar has amassed an
outstanding discography. With recordings of the complete Mozart Sonatas (
AV2209), Bach’s Goldberg Variations (
AV2235), Beethoven’s Diabelli Variations (AV2260), a
disc of Orlando Gibbons already under his belt, and a traversal of
Beethoven’s Piano Sonatas in the pipeline, the omens look good.
He was born in South Africa, and studied at the Royal Academy of
Music in London, where he now teaches. It is in the Academy’s
Duke’s Hall that these recordings were made. Book 1 is a new recording
made in 2013. He made his first commercial recording of this book back in
2004 for a small independent label. That same year, he recorded Book 2,
which was unreleased at the time and here makes its first appearance.
Pienaar explains in the notes that no attempt has been made to match the
sound of the two sets, separated by nine years; he regards each book as a
distinct entity.
I have to say from the outset that this is one of the most
impressive cycles that I have ever heard. Throughout, Pienaar shows great
musical integrity and intelligence. The general tenor of his performances is
spontaneity and an improvisatory feel. With speeds generally brisk, he
doesn’t linger or allow the music to lapse into repetitive tedium.
Each prelude and fugue is fresh, adventurous and well-characterized with an
innate sense of style. Vital and immediate, each is underpinned and
energized with rhythmic thrust.
Contrapuntal lines are well-defined. Phrasing is well judged, and
dynamics suitably varied. With sparing use of pedal, lines are never
smudged, the pianist achieving luminosity in the contrapuntal strands and
harmonic progressions. All ornamentation is tastefully executed. Pienaar
explores the full range of the piano’s potential.
His fabulous technique is not showy in any way, but put to the
service of the music. Scintillating fingerwork is on display in such
Preludes as No. 21 in B flat BWV 866, No 15 in G major BWV 860 (Book 1), and
No. 6 in D minor BWV 875 (Book 2). One marvels at the clarity of
articulation in Prelude No. 17 in A flat BWV 862 (Book 1). Yet he is also
able to emphasize the darker elements in such Preludes as No. 16 in G minor
BWV 885 (Book 2). In the complex 4-voice Fugue in B minor BWV 869 (Book 1),
he teases out the contrapuntal lines with dexterity and commanding
articulation.
Sound quality between the two books and the recording time lapse is
negligible. The engineers have achieved an ideal, warm, intimate ambience
from the Duke’s Hall. The acoustic favours the character of these
works, positively facilitating the full realization of the polyphonic
textures.
With so much competition out there, this recording has the advantage
that the pianist has something new to say about these works. Not imposing
his personality on the music, he allows the music to emerge and speak for
itself. This delightful issue is complemented by Pienaar’s
comprehensive and erudite booklet essays. These are in English only.
For those coming to these works for the first time, this set will
provide an ideal introduction. To those who consider the Well-Tempered
Clavier as a sequence of dry, academic exercises, Pienaar’s traversal
will be a revelation.
Stephen Greenbank
Track-list
CD 1 [45.41]
Book 1
1-2 No.1 in C, BWV846 [1.23/1.54]
3-4 No.2 in C minor BWV847 [1.49/1.23]
5-6 No.3 in C sharp BWV848 [1.07/2.04]
7-8 No.4 in C sharp minor BWV849 [2.52/3.53]
9-10 No.5 in D BWV850 [0.56/1.35]
11-12 No.6 in D minor BWV851 [1.12/1/31]
13-14 No.7 in E flat BWV852 [3.32/1.36]
15-16 No.8 in E flat minor BWV853 [3.11/3.27]
17-18 No.9 in E BWV854 [1.01/0.51]
19-20 No.10 in E minor BWV855 [1.48/1.00]
21-22 No.11 in F BWV856 [0.52/1.15]
23-24 No.12 in F minor BWV857 [2.00/2.51]
1-2 No.13 in F sharp BWV858 [1.43/1.37]
3-4 No.14 in F sharp minor BWV859 [0.50/3.26]
5-6 No.15 in G BWV860 [0.43/2.33]
7-8 No.16 in G minor BWV861 [1.59/1.47]
9-10 No.17 in A flat BWV862 [1.08/2.07]
11-12 No.18 in G sharp minor BWV863 [1.12.2.17]
13-14 No.19 in A BWV864 [1.07/1.39]
15-16 No.20 in A minor BWV865 [1.00/4.12]
17-18 No.21 in B flat BWV866 [1.09/1.30]
19-20 No.22 in B flat minor BWV867 [2.41/3.51]
21-22 No.23 in B BWV868 [0.50/1.47]
23-24 No.24 in B minor BWV869 [5.00/6.45]
CD 3 [53.30]
Book 2
1-2 No.1 in C BWV870 [2.19/1.17]
3-4 No.2 in C minor BWV871 [1.51/1.49]
5-6 No.3 in C sharp BWV872 [1.37/1.32]
7-8 No.4 in C sharp minor BWV 873 [4.16/1.36]
9-10 No.5 in D BWV874 [2.53/1.40]
11-12 No.6 in D minor BWV875 [1.20/1.24]
13-14 No.7 in E flat BWV876 [2.19/1.12]
15-16 No.8 in D sharp minor BWV 877 [3.10/3.20]
17-18 No.9 in E BWV878 [2.15/3.23]
19-20 No.10 in E minor BWV879 [2.03/2.02]
21-22 No.11 in F BWV880 [2.53/1.33]
23-24 No.12 in F minor BWV881 [3.22/1.28]
CD 4 [67.02]
Book 2
1-2 No.13 in F sharp BWV882 [3.05/2.21]
3-4 No.14 in F sharp minor BWV883 [3.05/3.31]
5-6 No.15 in G BWV884 [2.14/1.08]
7-8 No.16 in G minor BWV885 [2.59/2.14]
9-10 No.17 in A flat BWV886 [3.20/2.50]
11-12 No.18 in G sharp minor BWV887 [3.25/5.34]
13-14 No.19 in A BWV888 [1.36/1.04]
15-16 No.20 in A minor BWV889 [2.47/1.21]
17-18 No.21 in B flat BWV890 [5.28/2.36]
19-20 No.22 in B flat minor BWV891 [2.32/3.32]
21-22 No.23 in B BWV892 [1.49/3.34]
23-24 No.24 in B minor BWV893 [2.13/1.59]
