Richard Egarr - J.S. Bach: Per Cembalo Solo... '2003

Tracks list

Tracklist

01. Concerto in G Major, BWV 973, after Vivaldi Op.7, No.8 (RV 299): I.
[Allegro]
02. Concerto in G Major, BWV 973, after Vivaldi Op.7, No.8 (RV 299): II. Largo
03. Concerto in G Major, BWV 973, after Vivaldi Op.7, No.8 (RV 299): III.
Allegro
04. Chromatic Fantasia & Fugue in D Minor, BWV 903: Fantasia
05. Chromatic Fantasia & Fugue in D Minor, BWV 903: Fugue
06. Concerto in D Major, BWV 972, after Vivaldi Op.3, No.9 (RV 230): I.
[Allegro]
07. Concerto in D Major, BWV 972, after Vivaldi Op.3, No.9 (RV 230): II.
Larghetto
08. Concerto in D Major, BWV 972, after Vivaldi Op.3, No.9 (RV 230): III.
Allegro
09. Fantasia & Fugue in A Minor, BWV 904: Fantasia
10. Fantasia & Fugue in A Minor, BWV 904: Fugue
11. Italian Concerto in F Major, BWV 971: I. [Allegro]
12. Italian Concerto in F Major, BWV 971: II. Andante
13. Italian Concerto in F Major, BWV 971: III. Presto
14. Sonata in A Minor, BWV 965, after Reincken: I. Adagio
15. Sonata in A Minor, BWV 965, after Reincken: II. Fugue-Adagio-Presto
16. Sonata in A Minor, BWV 965, after Reincken: III. Allemande
17. Sonata in A Minor, BWV 965, after Reincken: IV. Courante
18. Sonata in A Minor, BWV 965, after Reincken: V. Sarabande
19. Sonata in A Minor, BWV 965, after Reincken: VI. Gigue
20. Fantasia & Fugue in C Minor, BWV 906: Fantasia
21. Fantasia & Fugue in C Minor, BWV 906: Fugue (incomplete)
22. Fugue in C Minor, reworked by Richard Egarr, after BWV 906


In most collections of Bachs harpsichord works, the Italian Concerto and the
Chromatic Fantasia and Fugue are regularly found, but Richard Egarr is almost
apologetic for including such favorites on this disc. He is quick to point out
in his liner notes how hearing them in context - alongside Bachs lesser known
transcriptions - may bring a reassessment of these overly familiar but brilliant
pieces. Whether or not Egarr rescues them from their deserved popularity is
beside the point, for his varied program is fascinating and enjoyable without
any need to justify the selections. Scholars may derive insights from Egarrs
study of Bachs development, in which transcribing the works of older composers
played an essential part. To this end, Egarr provides much of the interest by
including Bachs transcriptions of two of Vivaldis concertos and Reinckens Sonata
from Hortus Musicus. But the lay listener can enjoy these virtuosic re-creations
without knowing details of their evolution, and Egarrs energetic playing is
quite engaging, almost in spite of his didactic tendencies. If anything here is
too pointedly pedantic, it is Egarrs completion of Bachs unfinished Fugue in C
minor, which is perhaps too earnest an ending for an otherwise lively album.
Harmonia Mundis recording is excellent, and the harpsichords sound is robust and
appealing.

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