The
Goldberg Variations BWV
988, Clavier-Übung IV
(1741)
PIERRE
HANTAÏ
harpsichord
OPUS
111 OPS 30-84
[77:26] full-price
by
Darrell Ang
Pierre Hantaï (b.1964) has, within the space of a few years, quickly
established a reputation as one of the leading harpsichordists of
our time. It is no surprise, really, when one detects a profound
understanding and simplicity of intention he has of the music he
interprets. This is coupled with an honesty and allegiance to the
printed notes and style of the music. He has studied with eminent
harpsichordists Arthur Haas and Gustav Leonhardt, and is thoroughly
acquainted with the works of the English virginalists and of Domenico
Scarlatti.
The
recipient of several international awards and kudos, Hantaï has
worked with the biggest names in the early music business – the
Kujikens, Savall and Herreweghe, to name a few. His various recordings
on the French independent label, Opus 111, have garnered enthusiastic
praise and widespread critical approval. The present recording earned
the "Gramophone Award" in 1996, and is held by many as the best
in the market of Bach's keyboard magnum opus.
Here,
Hantaï plays on a copy of a 1702 original; and the instrument's
sound is glorious – helped, no doubt, by the warm recording sound
which (the present writer feels) does not allow the harpsichord
to sound "incisive" like on a number of L'Oiseau Lyre (that unfortunate
victim of Decca Assimilation) tapings for Christophe Rousset, another
worthy exponent of this music.
Hantaï paces the gentle Aria nicely, never indulging but
letting it sing in long, unbroken phrases. His spritely rhythm is
infectious in the first variation, never once letting go of its
inevitable continuity; and contrapuntal textures in the canons are
given much clarity – each strand infused with its own individual
character. Hantaï's unique seamless legato is truly something to
marvel at – it's pure fluidity in the fifth variation. Listen again
to the harpsichord sing in the lovely thirtheenth variation. And
in variations 21 and 25, the instrument suddenly adopts a darker
tone, as the music slips into the minor mode – Hantaï displaying
unusual sensitivity to the ambience.
In
short, this is Bach-playing of the highest order; and indeed, Pierre
Hantaï's consummate artistry and vision caters to everyone's taste
– even the puritans! For listeners who prefer Bach on the modern
piano for no reason other than the fact that they aren't accustomed
to the sound of the harpsichord, I urge you to sample this disc
– it could very well change your mind.
It took DARRELL ANG 32 nights
to write this review as he could not keep awake to the music - a
remedy to insomnia, perhaps?
If you wish to
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Pierre Hantaï (b.1964) has, within the space of a few years, quickly
established a reputation as one of the leading harpsichordists of
our time. It is no surprise, really, when one detects a profound
understanding and simplicity of intention he has of the music he
interprets. This is coupled with an honesty and allegiance to the
printed notes and style of the music. He has studied with eminent
harpsichordists Arthur Haas and Gustav Leonhardt, and is thoroughly
acquainted with the works of the English virginalists and of Domenico
Scarlatti.
Hantaï paces the gentle Aria nicely, never indulging but
letting it sing in long, unbroken phrases. His spritely rhythm is
infectious in the first variation, never once letting go of its
inevitable continuity; and contrapuntal textures in the canons are
given much clarity – each strand infused with its own individual
character. Hantaï's unique seamless legato is truly something to
marvel at – it's pure fluidity in the fifth variation. Listen again
to the harpsichord sing in the lovely thirtheenth variation. And
in variations 21 and 25, the instrument suddenly adopts a darker
tone, as the music slips into the minor mode – Hantaï displaying
unusual sensitivity to the ambience.
