We have recently been quite spoilt for choice with recordings of Bach's sublime
exercises with Angela Hewitt's superb renderings on two Hyperion sets and
now Bernard Roberts, that wise and distinguished figure contributes his own
thoughts to the genre. In fact, both interpretations, although produced on
a modern grand piano, are poles apart, fundamentally in the view that each
artist is prepared to take.
Whilst Hewitt is technically superb and sleek, Roberts is occasionally
languorous, sometimes mesmerizing but has his fair share of eccentricities
too. This attitude pays dividends in the beautiful First Prelude, a timeless
piece, so significant of Bach at his most divinely inspired. Roberts' fingerwork
is accomplished although I was not very comfortable with the dashing conclusions
to some of his fugues, this robs the music of inveterate warmth. Otherwise
Roberts compares well with Jeno Jando's similarly exultant contributions
especially in the Second book.
In the long run it is a question of personal taste more than technical
proficiency. Most pianophiles will prefer Hewitt's rather more attractive
approach and her beautifully prepared notes are a model to read. Not so with
Wilfred Mellers' gorgingly over cantankerous essay that permeates the Nimbus
set with its overlong ramblings. Mellers attempts to show us all how high
and mighty he is in the Bach school without actually getting to the heart
of the matter. That is a serious detriment to this Nimbus set. Still, the
price is ridiculously cheap and with a good, strong modern recording, few
Bach newcomers will hesitate. Otherwise Angela Hewitt is still the one to
go for.
Reviewer
Gerald Fenech
Performance:
Sound:
Bernard
Roberts
