Interesting to reflect
on the current fascination with Baroque
music among the music-loving (or rather
CD-loving) public, and to be reminded
that - as this collection of arrangements,
and music inspired by or reconstructed
from Baroque originals, shows - it’s
nothing new! Can it be that the relatively
narrow range of dynamics, colours and
moods - its relative ‘constancy’ - is
in itself a source of delight, peace
or stimulation? In which case, why listen
to Busoni’s Bach or Liszt’s Handel at
all, given their absurdly(?) exaggerated
gestures and massive textures? Or indeed
almost any of the music on this disc
in preference to the originals from
which they come?
Alessio Bax makes out
a compelling case for doing so. The
program is intelligently planned, progressing
from the commanding fanfares of the
Bach-Busoni transcription, via the Siloti,
Hess and Gluck arrangements - song-like
intermezzi in this context - to an impressive
reading of the extended Corelli variations
to bring down the curtain. It works
well as a package and, despite, one
imagines, being recorded in his own
time, not only sustains our interest
and attention over 69 minutes, but also
delivers a cumulative effect, as if
we were listening to some grand sonata
or unified collection.
Performers working
with this kind of repertoire can allow
themselves the option of making subtle
and restrained Baroque-like understatements,
or recognising the theatrical attitude
of the transcribers and arrangers by
deliberately opening up a huge range
of modern-instrument effects. With impeccable
judgement, Bax veers convincingly from
one to the other, and seldom disappoints.
The meticulous clarity of his articulation
in the opening flourishes of the Bach-Busoni
Toccata, or the right-hand (originally
oboe) lines of Marcello’s ‘concerto’
are noteworthy: it’s all beautifully
stylish, one hesitates to say ‘authentic’,
suggesting that any future venture into
the Partitas or Goldberg Variations
may well prove a serious rival to Perahia’s,
Hewitt’s or Schiff’s. On the other hand,
the sheer technicolor extroversion of
his Liszt and the freedom with which
he roams through Rachmaninov’s variations
fully match the scale and range of their
composers’ thinking. So, unsurprisingly,
in Siloti’s Prelude, or in Jesu,
joy of man’s desiring, he is able
most persuasively to distinguish between
‘sung’ lines and any superimposed decoration,
with a two-manual, almost orchestral,
effect: such is his tonal control.
The presentation is
rather lightweight, surprising for such
a ‘glossy’ programme, with notes which
contain more unsupported value judgements
than really useful information. Indeed,
we are told that Gluck’s Mélodie
is a transcription of Orfeo’s lament
‘Che faro senza Euridice’ - "one
of the most beautiful pieces ever composed"
- but it is in fact a different number
from the same opera, the celebrated
Dance of the Blessed Spirits.
I wouldn’t put the
recorded sound in the topmost flight.
It’s admirably clear but, certainly
compared with the very best piano recordings
available today, slightly hard, tending
to harshness in forte. One seldom
sits up and notices the beauty
of sonority - despite the undoubted
beauty of Bax’s playing. It’s the kind
of tonal character which might better
suit ‘pure’ Bach rather than ‘modified’
Bach: a greater weight and resonance
would be surely more fitting in this
repertory. But don’t let these remarks
lessen your temptation to acquire a
distinguished and refreshingly ‘different’
recital.
Peter J Lawson
see also review
by Jonathan Woolf