Bach & Boulez
Intriguing programming brings some ravishing playing from the pianist
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach, Pierre Boulez
Genre:
Instrumental
Label: Virgin Classics
Magazine Review Date: 7/2007
Media Format: CD or Download
Media Runtime: 68
Mastering:
Stereo
DDD
Catalogue Number: 385 787-2
Tracks:
Composition | Artist Credit |
---|---|
(6) Partitas, Movement: No. 4 in D, BWV828 |
Johann Sebastian Bach, Composer
David Fray, Piano Johann Sebastian Bach, Composer |
(12) Notations |
Pierre Boulez, Composer
David Fray, Piano Pierre Boulez, Composer |
(6) French Suites, Movement: No. 3 in B minor, BWV814 |
Johann Sebastian Bach, Composer
David Fray, Piano Johann Sebastian Bach, Composer |
Incises |
Pierre Boulez, Composer
David Fray, Piano Pierre Boulez, Composer |
Composer or Director: Johann Sebastian Bach
Genre:
Instrumental
Label: Paraty
Magazine Review Date: 7/2007
Media Format: CD or Download
Media Runtime: 72
Mastering:
Stereo
DDD
Catalogue Number: INT221154
Tracks:
Composition | Artist Credit |
---|---|
(6) Partitas, Movement: No. 2 in C minor, BWV826 |
Johann Sebastian Bach, Composer
Bruno Procopio, Harpsichord Johann Sebastian Bach, Composer |
(6) Partitas, Movement: No. 5 in G, BWV829 |
Johann Sebastian Bach, Composer
Bruno Procopio, Harpsichord Johann Sebastian Bach, Composer |
(6) Partitas, Movement: No. 6 in E minor, BWV830 |
Johann Sebastian Bach, Composer
Bruno Procopio, Harpsichord Johann Sebastian Bach, Composer |
Author: Jed Distler
The virtues and drawbacks of Brazilian harpsichordist Bruno Procopio’s debut disc encompassing Bach’s First, Third, and Fourth Partitas spill over into the follow-up volume with Nos 2, 5 and 6. At his best, Procopio displays an extrovert temperament and resilient sense of “swing” that taps into the music’s dance origins, specifically in the C minor’s Capriccio, the G major’s Gigue, the E minor’s Air and each partita’s Courante. Yet certain rhythmic distensions in the name of style seem just plain eccentric, such as the luftpauses in the G major Preambulum’s main theme and the angular, almost cubist rushing in the E minor Toccata’s opening section. Furthermore, Procopio stretches out each partita’s Sarabande to the point where the basic pulse hangs by a thread, and lays heavy-handedly into the C minor Allemande, leaving fluidity up to Pinnock, Kipnis and Woolley (the three harpichordists, not the law firm). The sonics capture Procopio’s harpsichord at such close range that you wonder who shoved your head into the belly of the instrument.
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