Johann Sebastian BACH (1685-1750)
Partita No. 1 in B flat major, BWV 825 [20:06]
Partita No. 2 in C minor, BWV 826 [21:30]
Partita No. 3 in A minor, BWV 827 [20:40]
Partita No. 4 in D major, BWV 828 [27:37]
Partita No. 5 in G major, BWV 829 [22:16]
Partita No. 6 in E minor, BWV 830 [28:48]
Huguette Dreyfus (harpsichord)
rec. 1983, Aeolian Hall, Tokyo.
HERITAGE HTGCD 292/3 [62:18 + 78:43]
A genuine pioneer of the harpsichord, Huguette Dreyfus has
been noted for her performances of unexpected repertoire on her instrument
in the past, as her recording of Bartók’s Mikrokosmos
shows. Along with many other recordings for the label, her Bach Partitas
were originally released by Denon on 3 CDs, and the booklet has an anecdote
of a recent conversation between Dreyfus and Orhan Memed in which the performer
recalls her visit to Japan, the recording being just small part of an occasion
filled with teaching and concerts. Further information on the Partitas
is provided in a booklet note by our very own Gavin Dixon.
Recorded in a relatively intimate but not overly dry acoustic, the harpsichord
sound for this set of Bach’s Partitas is crisp and detailed
rather than rich and opulent. This is a sonic perspective to which it is very
easy to adapt, and is only really worth commenting on when comparing with
other versions, to which we’ll come later.
Dreyfus doesn’t often go out of her way to emphasise dramatic aspects
of this music, which means measured tempi and limited elasticity in terms
of expressive pushing and pulling of speeds with phrasing. There are indeed
a very few movements, the Corrente of BWV 825 for instance,
that could arguably have done with a little more forward momentum, but there
is no denying the convincing style that brings its own life and vibrancy to
these performances. There is for instance no lack of drama in the striking
opening to Partita No. 2, and the drive in the final section of this
substantial Sinfonia is infectious. She lets the following Allemande
speak for itself, creating expression with the slightest of delayed inflection
here and there in the right hand. The slow and elegant Sarabande
is likewise lacking in real liberties, the music breathing through the kind
of subtle flexibility which is almost an intuitive or essential part of the
music – that which makes the performance human rather than mechanical.
While drama and excitement may not be at the forefront of Dreyfus’s
performances there is plenty of zip in her more animated movements, the final
Capriccio of BWV 826 being a case in point. The Burlesca
and following Scherzo BWV 827 is also pretty wild, and there
is no shortage of contrast in these performances. A favourite with this recording
is the Partita No. 4, BWV 828, with the music helped by
the fine resonance of the D major key signature, a more relaxed world of sound
compared to the C minor of BWV 826. The low thrum of the Allemande
is gorgeous, and you can hear Dreyfus’s distinctly French character
coming through in the more exploratory sounding Sarabande and formal
nature and ornaments of the Menuet. Dreyfus is not one for making
jokes, but there is some wit in the way she takes on something like Bach’s
quirky theme for the Gigue that rounds off BWV 829. The
great Partita No. 6 is a highlight of any such set, and this performance
is very satisfying indeed, from the grand Toccata to that remarkable
Sarabande with its moments of acute dissonance and exquisite resolution,
and the darting arrows that point in all directions with the final Gigue,
Dreyfus has the measure of them all and never slacks in intensity of imagination.
The value of this release is in its making widely available a significant
recording of Bach’s keyboard Partitas in a world in which piano
recordings of the same works now outnumber those on the instrument for which
they were originally composed. As far as alternatives go I’ve always
has an affection for Gustav Leonhardt’s recording, now most widely available
on Virgin’s Veritas label. These performances are roughly contemporaneous
with Dreyfus’s, and they share a quality of melodic expressiveness and
measured reserve which has an atmosphere of sheer refinement. Trevor Pinnock
on Hänssler Classic uses a bigger sounding instrument and is truly excellent
if you seek something grander sounding. Masaaki
Suzuki on the BIS label often takes slower tempi than many but also has
plenty to offer, contrasting movements with different stops and captured in
generously beefy sound. These are just a few leading choices among many in
which Huguette Dreyfus can be considered a strong contender. Some may prefer
a weightier harpsichord sound, but these recordings are very natural sounding
and the perspective suits the interpretations at every level.
Dominy Clements
Previous review:
Stephen Sillitoe
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