As for The art of running away of Bach, the pianists who approach Iberia do it out of passion or challenge. The 12 pieces divided into 4 notebooks are so difficult that one does not commit to them by chance, especially since, discographically, it is not very rewarding. Like the old refrain “Bach is Glenn Gould”, we know that ” Iberia it’s Alicia de Larrocha”. Except that in one case it’s nonsense that has long plagued the profession, while for Alicia and her colorful atmospheres, it’s very true. This does not prevent seeing something else in Iberia and this is exactly the royal road opened by Nelson Goerner. He is not the first: Marc-André Hamelin had tried his hand at it in an exalted solar vision, practiced in concert, opposed to that, abstract, of Jean-François Heisser. Goerner, on the other hand, achieves a total feat: an alchemy between the obsessive presence of rhythm and the pure subtlety of the climates, in an atmosphere scorched by the sun rather than moist, all served by a prodigious pianistic quality (readability, clarity, touch). A stunning record.
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