Craig Sheppard is strongly
identified with Roméo Records, and his recent releases, which
include for example the Beethoven sonatas, have been met
with acclaim. He is an experienced artist and his Bach performances
recorded here show a consistently thoughtful and imaginative
response to the challenge of interpreting the ‘old testament’ of
keyboard music. Several months ago his release of Book One
of the Well-Tempered Clavier met with a favourable critical
response.
Some listeners will no doubt object
to the choice of the piano rather than the harpsichord, in
which case the option of the new version by Masaaki Suzuki
on BIS will offer a fresh alternative. But for those like
me who warm to a sensitive performance of Bach on the piano,
Sheppard will bring much reward. There is nothing indulgent
about his choices of tempo, which invariably seem and feel
right, while his articulation of part-writing is beautifully
textured and articulated.
Bach selected each of the major
and minor keys in his preludes and fugues and developed the
personality of each composition from that starting point.
Tempi are sometimes implied rather than imposed, which makes
the experience of listening to each new performance or recording
that much more interesting. Sheppard’s judgements never seem
inappropriate, and are consistently musical. Thus the C major
Prelude and its Fugue are both flexibly phrased, for example,
with subtle shadings of textural balance. Legato lines are
a compelling feature of the performances, not least in the
beautifully shaped C minor piece, both parts.
Another compelling feature of this
release, confirming all of the above in terms of judgement,
is that Sheppard provides his own programme notes. Artists
are often found wanting when they venture into this elusive
and demanding field, but not in this case, which is so well
researched and eloquently written.
While there are other fine versions
of this marvellous keyboard music, employing either piano
or harpsichord as the case may be, Sheppard’s version can
stand comparison with any. I say this whether the competition
comes from the likes of Vladimir Ashkenazy (Decca) or Angela
Hewitt (Hyperion) on the piano, or from Bob van Asperen (Virgin
Classics) or Masaaki Suzuki (BIS) on the harpsichord. The
profiles and distribution networks of these competitors no
doubt will ensure that they rightly make their mark, but
Craig Sheppard’s performances are of an equally high order.
Terry Barfoot
see also review by Jonathan Woolf
Craig Sheppard
(piano) 
