Why re-engrave what has been immortalized dozens, even hundreds of times on disc? This is an essential question for anyone, like the Frenchman Benjamin Alard, who measures up to monuments such as the Well-tempered keyboard (BBT) by Bach.
Posted at 7:30 a.m.
Far be it from us to want to put locks on overrecorded works like the symphonies of Beethoven or the concertos of Brahms or Tchaikovsky, scores whose richness we may never have finished exploring.
It is true that they are rare, those who can – and dare – record all of Bach’s keyboard works, as much on the organ as on the harpsichord. Ton Koopman has done most of it (plus the complete cantatas!), with a freshness at every moment, despite questionable mannerisms.
A virtuoso of both instruments and winner of the prestigious Bruges Competition in 2004, Benjamin Alard obviously has the technical means required. Volume 6 of his complete, which has just been published by Harmonia Mundi, leaves no doubt on this subject.
In three discs, he marries the first CBT book with Keyboard-Büchlein for Wilhelm Friedemann, one of Bach’s sons, all on the harpsichord and clavichord. The musician had the interesting idea of playing the 24 preludes and fugues of the CBT out of order, renewing the listening of these pieces which are in any case not necessarily designed to be interpreted in the order of the keys.
But having said that, what does Benjamin Alard offer us? What more and different does it have to say than its illustrious predecessors? Alas, too little.
The game is constantly equal, without invention, without atmosphere. We come to wonder if the interpreter really likes this music.
The listener will admire the ideally captured sound of the superb German harpsichord from Bach’s time at the Provins Instrumental Museum. But he will probably remain unmoved by this constant distance from music so rich in emotions.
Classical music
The Complete Works for Keyboard, Vol. 6
Benjamin Alard
Harmonia Mundi