Johann Sebastian BACH (1685–1750)
French Suites
Suite No. 1 in D minor, BWV 812 [14:53]
Suite No. 2 in C minor, BWV 813 [15:39]
Suite No. 3 in B minor, BWV 814 [16:52]
Suite No. 4 in E flat major, BWV 815 [18:38]
Suite No. 5 in G major, BWV 816 [17:28]
Suite No. 6 in E major, BWV 817 [15:11]
Adagio in G major, BWV 968 (transcription of Sonata in C major for Solo Violin, BWV 1005) [4:24]
Fantasy in G minor, BWV 920 [7:49]
Prelude (Fantasia) in C minor, BWV 921 [2:27]
Fantasia in A minor, BWV 922 [7:01]
Keyboard Sonata in D minor, BWV 964 (transcription of Sonata in A minor for Solo Violin, BWV 1003) [19:56]
Alexandra Papastefanou (piano)
rec. 2019, Megaron, Dimitri Mitropoulos Hall, Athens
FIRST HAND RECORDS FHR70 [66:20 + 75:09]
Alexandra Papastefanou’s recording of Bach’s French Suites is the follow-up to her highly regarded set of The Well-Tempered Clavier which was a “Recording of The Month”, when reviewed by Stephen Greenbank in July 2018. This well-filled double set, again in an ultra-slim digi-sleeve, is sheer joy and delight from start to finish, with the caveat that it’s probably best to play a couple of the suites at a time; ideally late in the evening, with an appropriate drink at hand. When I’m in the mood for Bach on the Piano, this is certainly the kind of record that I wish to hear.
Stephen’s words about the pianist are very useful. She graduated from Athens Conservatoire, a pupil of Aliki Vatikioti. Further studies at the Moscow Tchaikovsky Conservatory, the Franz Liszt Academy in Budapest and the University of Indiana, Bloomington, USA ensued. Her teachers have included György Sebők and a spell with Alfred Brendel. She was a one-time finalist in the Clara Haskil Competition and has garnered several other prizes along the way. On listening to Alexandra’s Well-Tempered Clavier recording, the great pianist Alfred Brendel commented: “I find Papastefanou’s Bach riveting. This is Bach playing on a high level – full of life, controlled in all strands of the music, pianistically immaculate, and highly personal. Here is a Bach player who has lived a lifetime with this music.” Unless you are averse to Bach on the piano, which I’m certainly not, it’s hard not to be enraptured by this recital, beautifully recorded. The Clavichord, for which these works were written, sits on a table and the metal tangent hits the strings, rather than the plucking of the harpsichord, so it’s entirely apt for a piano, a Steinway, to be used. As in her previous set, lovers of Bach keyboard works played on a modern concert grand need look no further.
The French Suites are a misnomer, and the title certainly didn’t come from Bach himself. Bach wrote them in the early 1720s for his new wife Anna Magdalena whom he married in 1721. Jonathan Summers, in his excellent and concise notes explains that Johan Forkel in his biography of 1802, claimed that they were written in the “French manner” although the first recorded use of this description of these works was by Friedrich Marpurg in 1762.
In his review of The Well Tempered Clavier Stephen Greenbank commented that “choosing some highlights has been difficult because of the consistent quality invested throughout” and I find myself in the same position. I’m particularly drawn to the Allemandes and would point to those as a highlight. You could also sample more generally but the whole recital flows so seamlessly that it is impossible to pinpoint any highs or lows. If I had to choose a favourite, then I would go for the joyful and spirited Fourth Suite but the whole recital generally is excellent.
In addition to the six French Suites, Alexandra Papastefanou gives us two fantasies, a fantasia and the keyboard sonata in D minor, BWV 964 (transcription of Sonata in A minor for Solo Violin, BWV 1003). She starts the second Disc with the Adagio in G major, BWV 968 (transcription of Sonata in C major for Solo Violin, BWV 1005), not published until the 1880s and it’s unlikely that it was transcribed by Bach. To my ears, it certainly has a later feel. Published at the same time, Fantasy in G minor, BWV 920 is also considered as doubtful. While it sounds like it owes a lot to Bach, whether another hand is involved, who can say? These pieces fit well with the main works and provides two very generously filled CDs.
These recordings are a great success and the playing is perfect with Papastefanou having a real feeling for the music. As previously, the Steinway model D sounds faultless and the acoustic is ideal for music which is excellently realised by the engineers. There is, I’m relieved to say, none of the vocal accompaniments of a Glenn Gould.
My knowledge of these works is less than others by Bach but I found the music and playing captivating. I look forward to further recordings from this highly talented pianist.
David R Dunsmore
