Bach: Partitas Nos. 2-4

Probably, one of the best Partitas

Perahia is, with no doubt, one of the greatest performer of Bach's music.
Absolutely recommended. August 31, 2008

Pure Joy

Over the past decade or so, Murray Perahia has developed into one of the finest Bach pianists around. Perhaps one needs to suffer to appreciate Bach fully--surely this great pianist has had his share of suffering due to the debilitating hand injury which has kept him from the concert hall and recording studios in recent years. In any case, just as his English Suites, Keyboard Concerti, and Goldberg Variations set new standards in this repertoire, this recently released disc of Partitas 2, 3 and 4 joins the select list of desert-island Bach recordings. To put it simply, these are the most consistently imaginative renditions of these demanding works I have heard. Perahia's clarity of articulation and rhythmic control rival Gould's, while his sensitivity to mood, style and the subtleties of phrasing surpass Tureck, Meyer, Kapell (in no. 4), Schiff, Weissenberg, Tipo, and a host of other leading exponents of this repertoire.

From beginning to end, this recital is pure joy--and it is captured in extraordinarily vivid, mellifluous sound. Do not hesitate. And hope (pray?) for a sequel: my hunch is that if one is vouchsafed us, it will surpass even Lipatti in Partita 1, Tipo in 5 and Gould in 6 (my current benchmarks). August 14, 2008

Played With Striking Keyboard Style, Energy, And Abundant Invention!

The six partitas BWV 825-830, the third and last collection of suites, are certainly Bach's most mature achievement in this sphere. The opening movements on their own are sufficient to demonstrate Bach's fertile imagination.
Murray Perahia has chosen to perform the second, third and forth partitas, and his approach conveys a stylistic maturity, structural energy, abundant invention, and a strikingly auspicious style that is almost unequalled in accomplishment. He retains the traditional framework of the German suite in shaping the four regular movements, Allemande, Courante, Sarabande, and Gigue, yet takes on magnificent liberties with the form. In the second Partita, prefaced by a Sinfonia in three sections, Perahia begins the first by establishing an atmosphere filled with pathos that surrounds the big chords and dotted rhythms. This is followed by an 'Allemande' in two-part harmony. Perahia conveys its character with unfolding melodic charm, varied sonorities, and musical clarity. The 'Courante' is presented with a sense of pianistic command which allows the spirited character of the dotted rhythms to unfold. Perahia beautifully allows each theme to "speak", then blending them well within the polyphony creating an enjoyable experience. The 'Sarabande', is superbly paced by Perahia, and offers warmly expressed playing that purely respects its musical priorities. The energetic mood and rapid finger work of the 'Rondeau' and 'Capriccio' is both incisive and refined. In each of them, Perahia maintains remarkably clear texturing, and his non-legato touch never becomes harsh or out of character. In the third Partita, the 'Fantasia' is an expansive two-part invention. Once again Perahia maintains a steady pace throughout, and shapes the sense of long lines with fluency and cohesion. The 'Allemande' captures every ounce of serenity and compelling sensitivity. Once the 'Courante' begins, Perahia produces the necessary dramatic spirit allowing the dotted rhythms to unfold with a sense of assertiveness, thus creating a thrilling effect. The 'Sarabande' is conveyed with a solemn, inner-warmth and melancholy atmosphere. As a result the 'Burlesca's' pulsating character becomes most vivid and conveys Perahia's high-wired pianism which continues throughout the 'Scherzo', bringing it to a thrilling close. Perahia leads into the 'Gigue' with a well chosen tempo, allowing the spirit and temperament of its character time to be enjoyed.
The fourth Partita, begins with a French 'Overture.' Its character is majestically grand, and Perahia makes magnificent use of pedal-points and spacing to convey the opening grandeur. In the 'Allemande', Perahia projects the harmonic coloring, and the playing is notable for its passion and finesse. The rapid ornamentation is filled with clarity and charm and the entire performance is shaped as if it was one long phrase. The same may be said of all the other pieces in these Partitas. In the hands of Perahia, there are never any "holes", never any awkward padding. He makes each movement a complete work of art, and his vibrant and varied sonorities are consistently lyrical. In all three 'Partitas', Perahia chooses tempi that are unhurried, allowing each and every musical detail time to "speak", time to be expressive, and time to be cherished as one of the leading performances ever recorded.

Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (hon.) June 17, 2008

superb!

I have yet to hear any of Murray Perahia's playing, whether live or recorded, which was anything less than superbly musical. His profound musicality is always what one hears, no matter the technical demands of a piece. His technique, though astonishing, is there to serve the music, not wow the listener. This cd is filled with illuminating insights and many, many moments of incredible beauty. May 18, 2008

Too polite, as usual

Perahia's Bach playing is always elegant and refined, but too polite and softhearted to my taste. Perfect for Mendelssohn's Lieder ohne Worte, but not for Bach's partitas. Also on this CD, Perahia's playing lacks the necessary vigor and spirit; it's all a bit boring and predictable. If Perhaia had some of the passion and spirit of Martha Argerich... (listen to her interpretation of the 2nd partita, and you'll know what I mean: vigorous and joyful playing that keeps you on the edge of your seat). For imaginative, vivid and warm interpretations of the complete Bach partitas, I strongly recommend Rosalyn Tureck. May 5, 2008

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