BACH Partitas, BWV 825–830 • Kenneth Weiss (hpd) • SATIRINO SR011 (2 CDs: 137:20)

As Bach approached the age of 40, the need to be published evidently grew very strong. Spurred on by the success of his friends Telemann and Handel in their publishing ventures, Bach tested the waters in 1726 with his keyboard Partita, BWV 825. The reaction was favorable, and so he announced his intention of publishing one newly composed partita, or suite, per year. These were to be entirely self-engraved (“in Verlegung des Autoris”) and self-promoted—Bach imitated Telemann by soliciting subscriptions from prominent individuals throughout Germany and beyond. He called the works his opus 1, and by 1731 the set of six was complete, known to posterity as Clavier-Übung I. It is worth noting that Bach already had a huge back catalog of solo keyboard music on which to draw, including the magnificent French and English Suites. But instead of publishing existing music, he chose to appease his muse by composing afresh—music that would become his final, definitive statement on the standard French keyboard suite of allemande, courante, sarabande, and gigue.

Bach goes beyond the standard model, however, by offering extensive, highly original opening movements—a praeludium in Partita 1, an Italian sinfonia in Partita 2, a fantasia in Partita 3, a toccata in 6—a practice that he began with the so-called English Suites. There are even some dance movements not ordinarily associated with Bach: a burlesca in 3 and a passepied in 6, for example. The music is of surpassing invention and beauty, and demands the highest level of musical probity and understanding on the part of the performer.

Kenneth Weiss is a native New Yorker who studied at Oberlin College and in Amsterdam with Gustav Leonhardt. Since the ’90s he has been an integral part of the Parisian period-instrument scene, having collaborated with William Christie and Les Arts Florissants for many years. He first came to my attention about 10 years ago with an excellent recording of the Goldbergs on the L’Empreinte Digitale label—still available and recommended. As good as that recording was, this one surpasses it by several orders of magnitude. First issued in 2003, it’s a mystery why it was never received for review when first released. Whatever the reason, I’m glad it’s here now.

Fine harpsichord renditions of the partitas abound on CD—favorites from the past include Kirkpatrick, Leonhardt, Pinnock, Kipnis, Staier, and more recently Christophe Rousset (I am purposely disregarding piano recordings for the moment). Yet I find myself drawn increasingly to the sense of urgency and occasion evident on the present recording. There is both a sense of rightness, of a deep understanding of the music, and just the right amount of showmanship that in combination are enormously attractive. It’s rare for a harpsichord recording to grab your attention like this—there is, after all, the handicap of limited dynamic that causes many to label the harpsichord “inexpressive.” Like the organ, the harpsichord is a contraption that must be coaxed and cajoled in specific ways before any music-making can happen. Weiss has the knack; he knows how use subtle modifications in articulation and rhythm to expose the expression inherent in the music. Judiciously chosen tempos and imaginative use of the harpsichord’s registers are also a big plus. When taken individually, these features seem minor, but when added up they constitute a very persuasive whole. It’s been quite a while since I last heard a harpsichord disc with as much immediate appeal, but one that repays repeated listening with deeper enjoyment.

Weiss has at his disposal a remarkable instrument, a copy after Gottfried Silbermann by Anthony Sidey. After years (decades, really) of barely adequate copies after Mietke—who probably had as little to do with Sebastian Bach as the Man in the Moon—we finally get to hear a German harpsichord model that has a direct connection to Bach. We’ll never know exactly which brand of harpsichord Bach played, but the odds that it was one built by his favorite Orgelbaumeister are very good. Sidey’s copy has all the qualities necessary for a successful performance of the music: imposing bass, clarity through all the registers, and a singing, French-like treble. Just as important, it has been recorded with an ample amount of room ambience, giving the feel of a real instrument in a real performance venue. The presentation is the familiar European three-fold paper wallet with extensive notes, so much more elegant than the cold plastic of the typical CD jewel case, a misnomer if there ever was one.

No question about it—this one goes on the 2010 Want List. It belongs in every harpsichord lover’s library as well.

FANFARE: Christopher Brodersen