Johann Sebastian Bach(1685-1750)
       Two Works for Keyboard

Italian Concerto in F major, BWV 971
Overture in B minor, BWV 831

Teldec 81267
Recorded 1988
David Ley Harpsichord, Paris
Scott Ross, Harpsichord
TT 40:01

Comparative Recordings:

Kenneth Gilbert - Harmonia Mundi 901278
Robert Woolley  - EMI Reflex 49800
Maggie Cole     - Virgin Veritas 61555(Italian Concerto Only)

Summary Rating: A

Scott Ross is most revered for his traversal of the Scarlatti solo keyboard
works.  However, he also made some great recordings of Bach's keyboard
music.  Teldec, as part of its Bach 2000 series, has just released a disc
of Scott Ross performing the Italian Concerto and the Overture in B minor.

This new reissue has very short measure in the forty minute range.
Although the disc is mid-priced, a budget price would seem to be more in
line with market forces.  However, Scott Ross recordings can transcend
price, and it's the performances which matter most.

For the disc at hand, Ross does not disappoint.  He's particularly
exuberant and exciting in the faster movements; many of them are now my
favorite versions.  The downside is that Ross takes quick tempos in the
Italian Concerto's Andante and in the opening Grave from the Overture
in B minor.  My response is that Ross doesn't allow the music sufficient
opportunity to unfold its treasures.  These are two very important
movements; The Andante is the heart and soul of the Italian Concerto and
the Grave is the Overture's calling-card.  Still, Ross is too good in all
the other movements to pass up.  This is a disc which rates a spot in your
Bach library.

Here are my comments as I took the short journey through the disc:

Italian Concerto in F major, BWV 971 - This three movement work begins
with an Allegro of great bounce, enthusiasm, and energy.  Ross certainly
displays these qualities in full measure with a vivacious account that is
very strong on forward momentum; it seems to bubble over with joy.  Ross is
the equal of the slower Gilbert and quicker Cole; these three are as good
as it gets on the harpsichord.

The Andante is one of Bach's most beautiful and conversational keyboard
pieces.  The interaction between the ornate right hand and the sighing
left hand is stunning and pierces the heart.  I tend to go for slowish
performances close to or over five minutes; that gives me ample time to
assimilate the conversations.  Scott Ross is quick at just over four
minutes.  His reading just can't deliver the wealth of interaction at
such a pace.  Switch to Robert Woolley and hear a luxurious performance
of superb detail and poetry.

The Presto is even more vivacious and extroverted than the opening
movement.  It thrives on excitement, drive, and pure joy.  Ross is really
in his element in the Presto.  My previous favorite, Woolley, is less
exciting than Ross even though Ross is slower.  The drive that Ross
delivers is so strong and constant; he never lets the listener off the
hook.

Overall, the Ross Italian Concerto has much to offer in the outer
movements; the Presto is the best I've heard.  It's a shame about the quick
tempo Ross uses in the Andante, but I still consider his performance of the
Italian Concerto as fine as the comparative versions.  And you don't want
to miss out on that transcendent Presto.

Overture in B minor, BWV 831 - This is a great Bach creation which consists
of a large-scale opening movement in the French manner followed by a series
of dance movements.  The Ross first movement has a thrilling fugal allegro,
but the Grave opening is too quick.  As with his Andante from the Italian
Concerto, I don't feel sufficient time has been spent on presenting the
music.  Also, there's a sprightly nature to his Grave which I find out of
sync with the music's emotional themes.

All goes splendidly when Ross hits the dance numbers.  In fact, I enjoy
his performances more than any other recorded versions.  Three of them rate
special mention.  Nobody brings out the drama of the Courante like Ross,
and his bass line is perfectly weighted.  In the Bourree series, Bourree I
is the height of exuberance; II is quick, packed with momentum, and has an
hypnotic bass line.  His Gigue is another 'best' as it provides the
strongest sense of an inexorable march to completion.

Don's Conclusions: The Ross disc has two aspects which I don't appreciate;
it's short, and I find Ross too quick in two of the slow movements.  More
than offsetting are the terrific fast movements of the Italian Concerto and
all of the dance movements from the Overture in B minor.  His lively and
idiomatic readings are essential listening.

Concerning sound quality, it is very good for 1988 harpsichord recordings.
There are no strident sounds, and the bass is rich without being heavy.
Actually, the bass is great and Ross takes full advantage.  I am glad
to have the recording and suggest you go out and get your very own copy.
Don't expect much from the cover art.  It's visually boring and made more
so because all the Teldec one and two disc releases from their giant
COMPLETE package have the same exact covers.  Teldec must have saved big
bucks on this one, enough to buy a few Big Macs and fill the stomachs of
some corporate gurus.

I just have to take a little excursion here as I'm thinking of the cd
covers from the Bach/Suzuki Cantata series on BIS.  It happens that one
of the local stores always slams the price right on the volume number of
the disc.  You've seen those covers, right? It's the volume number which
tells you easily which disc you're looking at.  Without that clue, you have
to know your Suzuki very well and get into the details of cantata numbers
recorded in Suzuki's past issues.  Some store employees think they have the
whole cd cover to choose from in selecting the annointed area which gets
obliterated.  This is very annoying, but I shall overcome; it's possible.

Don Satz
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