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Richard Egarr (Harpsichord)
Review: Harpsichord Works by Richard Egarr
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K-1 |
J.S. Bach: Harpsichord Works |
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French Suite No. 5 in G major, BWV 816 []
Partita No. 1 in B flat major, BWV 825 []
Minuets BWV 841-843 [1:20, 0:53, 2:01]
Preludes BWV 924-928, BWV 930 [1:09, 0:54, 1:04, 0:40, 1:24, 2:28]
Prelude in C major (Five Preludes No. 1), BWV 939 []
Fugue in C major, BWV 953 [1:59]
Fughetta in C minor, BWV 961 [1:40]
Italian Concerto in F major, BWV 971 []
Prelude for lute in C minor, BWV 999 [1:59]
Minuet No. 1 in G major, BWV Anh. 114 []
Minuet No. 5 in G minor, BWV Anh. 115 [] |
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Richard Egarr (Harpsichord) |
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EMI Classics |
Sep 1995 |
CD / TT: 77:37 |
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Recorded at Church of Maria Minor, Utrecht, Holland. 1st recording of Italian Concerto BWV 971 by R. Egarr.
Buy this album at: Amazon.com |
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Kirk McElhearn wrote (March 3, 2002):
Richard Egarr has made many recordings and performed for several years with London Baroque, as well as accompanying many musicians in recordings of sonatas for solo instruments and harpsichord. His solo recordings include works by Bach, a complete recording of Froberger, pieces by Gibbons, Louis Couperin and many others. This recording, a rerelease of a disc first published in 1997, is a selection of Bach¹s solo keyboard music, and includes three major works - the Partita no. 1, French Suite no. 5, and Italian Concerto.
Egarr performs this music on a beautiful instrument - a harpsichord by Joel Katzman, after Ruckers, that brings out some amazing sounds in these works. Egarr has a light touch in many of these pieces - the first movement of the opening Partita no. 1, the opening Allemande of the French Suite no. 5 - which fit well with the tone of the instrument. Its crystal-clear sound and resonance are well-suited to this type of playing.
Yet, when listening to the Partita, one may be disappointed by the lack of variety in the tempi of the various movements. Egarr seems most comfortable in a certain mode that allows him to play a somewhat “precious” style; this is excellent in the Sarabande of the partita, but his tempi for some of the other movements, notably the Minuets, seem a bit too slow.
Egarr should be congratulated for his choice of works in this program. Combining three of the more famous works with a number of ”smaller” pieces - the little preludes, the two well-known minuets from Anna Magdalena Bach’s notebook, and some of the simple, yet delightful works from Wilhelm Friedemann Bach¹s notebook - is an excellent choice. As he points out in the notes, some of these little pieces are tiny gems, that, while brief, contain elements that are quite indicative of Bach’s keyboard music.
Egarr is very convincing in the “discursive” movement of the Italian Concerto, the Andante, where, again, his style seems perfectly in tune with the music behind the music, but in the rapid Presto that closes out the disc, seems to be carried away by a rhythm he is not comfortable with.
Recorded an 1995, this disc gives a glimpse of a performer whose work deserves attention. While I am unfamiliar with his other solo recordings, this disc makes me want to hear more. Seven years after this recording, this performer has undoubtedly grown and developed. While there are some shortcomings to this disc, the selection and instrument alone make it a worthy purchase. |
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