There have been many compositions attributed to Bach which have been proven
to not come from his pen and an even greater number where authorship is not
clear.  Given the prevalence of borrowing, revising, and transcribing from
other composers during the Baroque era, absolute proof of ownership can be
quite elusive.

It's usually during the time of a big anniversary such as the one we have
enjoyed of Bach's that notes from the composer come out of the woodwork
and make it to disc.  This has happened over the past year with Bach
recordings.  It's probably best to say that some Bach discs have been
issued which contain music *associated* with Bach; that would include music
of dubious ownership, music where Bach made a few changes from the creation
of another composer, music of his children that he may have had a part in
writing or advising, music that came from Bach's "circle", etc.

Music associated with Bach is the primary theme of a recent Glissando
disc performed by Peter Riegger on harpsichord.  Glissando must have had
a few titles in mind that they couldn't decide among since three can be
identified on the front and back covers of the jewel case.  We have "Bach
or not Bach", "Early Harpsichord Works", and "Early Harpsichord Works".
Authenticity Disputed".  Whichever title you choose, the music tends to
have great vitality and much optimism.

There's no denying that the works on Rieger's disc do not represent
prime-time Bach.  They do not possess the depth or variety of Bach's
greatest compositions, and the technical complexity is relatively low.
I tend to think of the music as "Building-Block Bach".  Personally, I like
it as much as Fischer or Khunau harpsichord works.

Here's the run-down on the recorded items:

Concerto in G major, BWV 592a - This is a revision of a violin concerto by
a younger composer in Bach's circle, Johann Ernst von Sachsen.  Initially,
Bach made an organ transcription BWV 592; the harpsichord transcription
came later.  The work has two fast and exuberant movements centered by a
slow and sad piece.  The transcription is lively and quite enjoyable.

Fantasia & Fugue in D minor, BWV 905 - Authorship of this work is not
known.  In 1917, Busoni used the music as the foundation for his Sonatina
brevis in signo Joannis Sebastiani Magni.  The Fantasia is slow and has no
improvisatory elements; the Fugue has fine momentum and lyricism.

Suite in B flat major, BWV 821 - This appears to be a Bach creation and a
fine one at that.  The five movements consist of a noble Praeludium, lovely
Allemande, strong Courante, hopeful Sarabande, and heroic Echo.  The Echo
was very nice to hear and reminded me some of the Echo from Bach's French
Overture.

Fugue in G major, BWV 957 - This work was of dubious ownership until the
Yale manuscript revealed it to be Bach's creation.  Another fine piece of
music, the G major is cheerful and legato-driven.

Fugue in E minor, BWV 956 - Of unknown authorship, the E minor Fugue is
relaxing and enjoyable music of fine poetry.

Fugue in A minor, BWV 959 - Angular and exuberant, the A minor was likely
composed by one of Bach's sons or pupils.  It does sound too repetitive
for Bach, but it's a nice change of pace after the two previous fugues of
a rather sedate nature.

Partita in A major, BWV 832 - This five movement work is as excellent as
BWV 821 and also comes from Bach's pen.

Praeludium & Fugue in A minor, BWV 897 - Once thought to come from Bach,
current research attributes the A minor to Cornelius Heinrich Dretzel.  The
Praeludium is an angular and improvisatory sounding piece; the Fugue is a
delicately nuanced delight which gradually increases in intensity.

Sarabanda con Partite in C major, BWV 990 - Of unknown origin, this work
is the most interesting on the disc.  It consists of an initial Sarabande
followed by fifteen variations and ending with the Sarabande again.  With
little exception, the variations don't veer far away from the Sarabande,
but each one is highly lyrical and pleasureable.  Variations 10 and 12 are
absolutely gorgeous, Variation 13 is quite distinctive and vivacious, and
Variation 15 is one of perpetual motion.  Because of the unknown ownership,
we can't state that the work is a forerunner for the Goldberg Variations,
but that 10th Variation sounds mightly similar to one of the Goldbergs.

As for the performances, I have warm affection for Rieger's playing.  The
works are light, and Rieger does not try to make more of them than they
have to offer.  One review I read was not appreciative of the harpsichord
sound, but I have no problems with it.  The sound is more bright than rich,
but a fine match with the music.

Don's Conclusions - Although a fine recording, I normally would not
consider the works on the disc to be essential for acquisition.  However,
one never knows when a disc like Rieger's will be released; it could
be many years.  I think the cd is essential for serious Bach record
collectors, and would make a fine addition to the collection of lover of
Baroque harpsichord music.  In other words, grab it before the delete
button is pressed.  Glissando's catalog number is 779011.

Don Satz
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