Bach: Partitas Nos. 2 & 6 (CD review)

Also, Toccata in C minor. David Fray, piano. Virgin Classics 50999 070944 2 2.

For anyone unfamiliar with the term, a “partita” is basically just a set of variations, which in the eighteenth century and Johann Sebastian Bach became a suite for solo instrument. In the case of Bach’s partitas, he wrote three of them for violin and six for harpsichord; on the present recording young French classical pianist David Fray plays two of the harpsichord partitas on the piano.

First, what you have to understand about Bach’s partitas is that he wrote them, in his words, “to refresh the spirits of music-lovers.” Although Bach modeled them in part on the then-popular French dance suite, he departed from the format in sometimes writing music for them that had nothing to do with dancing. Instead, we get six or seven highly original, often highly ornamented movements in each partita, sometimes lyrical, sometimes whimsical, sometimes bright and cheerful, sometimes moody and melancholy.

Second, you have to understand that Fray’s playing is equal parts brilliant, virtuosic, traditional, playful, and eccentric. Critics have compared him in this regard to the Canadian pianist Glenn Gould, with whom Fray shares many characteristics, including a love of Bach and a penchant for showmanship.

Anyway, the program begins with the Partita No. 2 in C minor, BWV 826. It comprises six movements: A Sinfonia, Allemande, Courante, Sarabande, Rondeau, and Capriccio. Fray attacks them with vigor and enthusiasm, yet communicates much nuanced feeling as well. The pianist has said, “We shouldn’t be afraid of acknowledging the expressiveness of Bach’s music; it’s not as though the Romantics had a monopoly on expressivity.” Fray furnishes a performance that is lively and dazzling in the faster movements to complement a refreshingly poised demeanor in the slower sections. These are not gut-wrenchingly sentimental readings but thoughtfully considered ones. The Sarabande, for instance, comes off with a kind of serene introspection rather than just being another stately dance, while the Capriccio displays a sprightly, driving gait.

Next, we get the Toccata in C minor, BWV 911, which stands in stark contrast to the partitas around it. Whereas the partitas sound generally upbeat and refreshing as Bach said, the Toccata is much more weighty and dramatic. Thus, it offers an effective counterpoint to its companion works on the disc. Still, Fray doesn’t keep it melodramatic, preferring to present its opposing themes in a serious yet rhythmically dynamic manner. It’s a most pleasing result.

The program ends with the Partita No. 6 in E minor, BWV 830. It comprises seven movements: A Toccata, Allemande, Courante, Air, Sarabande, Tempo di Gavotta, and Gigue. Again, Fray jumps directly into the fray, so to speak. As he also says, “I try to make music like a conductor, not just as a pianist.... The piano constitutes a way of getting nearer the heart of the music. How do you balance the voices? How do you find a progression in a movement? How do you put the polyphony in place?” Certainly, he has found answers to these questions, as his interpretations are quite easily ones hard to forget.

Partita No. 6 is, indeed, the highlight of the set. The music sounds inspired, and Fray’s firm grasp of the music is evident in every note. Much of the work is moving in its sensitivity, and Fray’s approach to it is heartwarming, to be sure. The centerpiece is the Air, here a folklike dance that Fray pursues energetically, almost too much so. Yet one cannot help admiring and enjoying the infectious appeal of the presentation. This is not Bach for fogies.

Virgin did a good job recording the music at Notre-Dame du Liban, Paris, in 2012. A rather close-up piano provides ultimate detail. There is a beautiful glow provided by the lightly reverberant hall acoustic, which together with an excellent transient impact delivers a most-realistic piano sound. It’s one of those reach-out-and-touch-it affairs that seems as though the instrument is in the room with you.

To hear a brief excerpt from this album, click here:


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa