Bach Keyboard Works
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Kontrapunkt
Magazine Review Date: 12/1992
Media Format: CD or Download
Media Runtime: 40
Mastering:
DDD
Catalogue Number: 32113
Tracks:
| Composition | Artist Credit |
|---|---|
| Concerto in the Italian style, 'Italian Concerto' |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Lars Ulrik Mortensen, Harpsichord |
| Overture (Partita) in the French style |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Lars Ulrik Mortensen, Harpsichord |
Author: Nicholas Anderson
I am beginning to lose count of the number of discs that have come my way this year which focus on the Second Part of Bach's Clavier-Ubung. This one contains two contrasting examples of the composer's skill in transferring orchestral forms to the solo keyboard. They are the Italian Concerto (BWV971) and the Overture in the French style (BWV831).
The Danish harpsichordist Lars-Ulrik Mortensen first impressed me a few years ago with his recording of the Goldberg Variations (Kontrapunkt, 10/89) and as a sympathetic partner in another Kontrapunkt recording of flute sonatas by Leclair. Since then he has become a founder member of the Hickox/Standage orchestra, Collegium Musicum 90. Mortensen is a thoughtful and serious-minded player, though not lacking in dynamism, passion and humour. His performances of both these great Bach works are less extrovert than those by some of his rivals, such as Scott Ross (in the Italian Concerto on Erato (CD) 2292-45434-2), or more recently, Christophe Rousset (L'Oiseau-Lyre). Indeed, to some extent in the opening Allegro of the Italian Concerto and to a greater extent in the flanking dotted sections of the robust Overture to the B minor Partita I felt the need for more sparkle and nobility of gesture, respectively.
Yet, if to my ears at least, Mortensen fails to deliver these qualities quite as I feel them, then it is a price worth paying for the lyricism and natural musicianship which he introduces to almost all the other movements here. The right hand of the Italian Concerto's Andante flows easily and poetically though I felt the accompaniment a shade heavy, and the dances of the Partita are lightly and effectively articulated. These features are also on display in the finale of the Italian Concerto which comes off splendidly. Indeed, I am wondering whether Mortensen is an artist who needs to allow himself more time to get into his stride to lose some inhibition, since it is first movements in which I feel he treads too cautiously and too self-effacingly.
Bach enthusiasts and anyone else who loves the keyboard music of the period will find much to delight them in Mortensen's new recording. The slightly astringent tuning temperament in the B minor piece may take a few moments to adjust to, but the instrument sounds a fine one though it is, sadly, unidentified. Accomplished Bach playing in spite of minor reservations.'
The Danish harpsichordist Lars-Ulrik Mortensen first impressed me a few years ago with his recording of the Goldberg Variations (Kontrapunkt, 10/89) and as a sympathetic partner in another Kontrapunkt recording of flute sonatas by Leclair. Since then he has become a founder member of the Hickox/Standage orchestra, Collegium Musicum 90. Mortensen is a thoughtful and serious-minded player, though not lacking in dynamism, passion and humour. His performances of both these great Bach works are less extrovert than those by some of his rivals, such as Scott Ross (in the Italian Concerto on Erato (CD) 2292-45434-2), or more recently, Christophe Rousset (L'Oiseau-Lyre). Indeed, to some extent in the opening Allegro of the Italian Concerto and to a greater extent in the flanking dotted sections of the robust Overture to the B minor Partita I felt the need for more sparkle and nobility of gesture, respectively.
Yet, if to my ears at least, Mortensen fails to deliver these qualities quite as I feel them, then it is a price worth paying for the lyricism and natural musicianship which he introduces to almost all the other movements here. The right hand of the Italian Concerto's Andante flows easily and poetically though I felt the accompaniment a shade heavy, and the dances of the Partita are lightly and effectively articulated. These features are also on display in the finale of the Italian Concerto which comes off splendidly. Indeed, I am wondering whether Mortensen is an artist who needs to allow himself more time to get into his stride to lose some inhibition, since it is first movements in which I feel he treads too cautiously and too self-effacingly.
Bach enthusiasts and anyone else who loves the keyboard music of the period will find much to delight them in Mortensen's new recording. The slightly astringent tuning temperament in the B minor piece may take a few moments to adjust to, but the instrument sounds a fine one though it is, sadly, unidentified. Accomplished Bach playing in spite of minor reservations.'
Bach Keyboard Works
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