Bach: Das Wohltemperierte Klavier I

Bach: Das Wohltemperierte Klavier I
Steven Devine, harpsichord
Resonus Classics RES10239. 2 CDs. 55’06+56.13

This is the first of two double-CD volumes of Bach’s Das Wohltemperierte Klavier (The Well-Tempered Clavier), and covers the Preludes and Fugues 1 to 24 (BWV846-869) that form Book 1 of ‘The 48’. This musically intelligent and absorbing recording by Steven Devine demonstrates that performing Bach (or any music, for that matter) is far more the merely playing all the notes in the right order. His subtle use of articulation and rhetoric and his understanding of the Baroque idea of building up musical ideas from small motifs make for an absorbing recording that will invite repeated listening. He manages to negotiate that fine line between presenting a personal interpretation and those over-mannered performances that might be fine for a live recital but is usually off-putting on the repeat listening that a recording allows. With obvious respect to Bach and these extraordinary miniatures of musical craft, Devine brings a wide range of interpretations, matching the underlying mood of each Prelude and Fugue perfectly. Continue reading

Rameau: Complete solo keyboard works

Jean-Philippe Rameau
Complete solo keyboard works
Steven Devine, harpsichord
Resonus RES10214. 3CDs 79’26, 65’45, 73’28

This important recording of the solo keyboard works of Jean-Philippe Rameau brings together in a three-CD set, pieces previously only available as separate downloads from the Resonus website. For those who haven’t kept up with these recordings, or who want a hard copy of these performances, this three-for-the-price-of-one package is a must-buy. The three discs were recorded in St John the Evangelist, Oxford in December 2013 and April 2014, and in the Chapel of Sidney Sussex College, Cambridge in August 2017. All use the same double-manual harpsichord by Ian Tucker based on a 1626 Andreas Ruckers of Antwerp, with a ravalement added in 1763 by Hemsch of Paris. The pitch is  a=415, and it is tuned in the non-specific Tempérament Ordinaire, in this context presumably meaning a modified meantone temperament. The three CDs follow a sensible order, giving an excellent overview of Rameau’s stylistic development from 1706 to 1747. Sadly, the title of ‘Complete solo keyboard works’ is correct: although he spent much of his early life as an organist, unlike many other French composers of the period, he left no compositions for the organ, although there are modern transcriptions available, in score, and on CD.  Continue reading