English Suite No. 5 in E minor, BWV 810 - The Prelude is essentially
a three-part fugue of strong urgency and momentum.  Horszowski and
Schiff give relatively slow performances, but that's the only similarity.
Schiff is able to maintain momentum while maximizing the music's lyricism.
Horszowski sounds labored even at slow tempo; momentum and lyricism suffer
from neglect.  In addition to Schiff, other good versions come from
Watchorn, Leonhardt, Perahia, and Levin.  I should note that Levin is
constantly strong without variety in tension levels, and Perahia tends
to relax now and then with a resulting loss of momentum.

Gould rises above the other versions with a superb momentum and fine
gradations of tension levels.  When there's gold in a musical passage,
Gould conveys it fully.  His version maximizes the Prelude's variety and
is the only one which tells me that the piece is a master's creation.

The Allemande, a seemingly reflective piece, finds four versions which are
good, one which is excellent, and two which transcend the reflective nature
of the music.  After playing the four fine versions, the excellent one by
Schiff is like a breath of fresh air.  He's playful, delicate, and finds
all the nuances I would expect from a reflective Bach.

Levin refers to the Allemande as "angular", a trait he certainly does not
display.  In fact, Leonhardt's is the only angular performance, and he uses
it to convey a strong sense of longing which lifts the interpretation to
the top level.  Joining Leonhardt is Mr. Gould who presents a outstanding
display of counterpoint draped in a ceremonial environment; that's a
combination I always appreciate.  I should report that Gould skips the
second theme repeat, and Leonhardt skips both.

The Courante tends to be a dramatic and severe piece, but it has hidden
poetry and some sunlight.  None of the versions is poor, but only two rise
to the occasion - Levin and Gould.  Levin's is fast paced, very seamless,
and discovers all the lyricism in the music.  Gould has a unique pace and
brings out the sunlight; his counterpoint is again superb.  To my surprise,
Perahia has the fastest tempo, but it acts against finding much poetry.
Horszowski manages to work his way through the Courante, as he did in the
first two movements.

Next is a highly introspective Sarabande of rather dark mood.  Each version
is rewarding except for Watchorn and Levin; Watchorn sounds like he's going
through the motions, and I do not appreciate Levin's pacing and accenting
which gives the music a "circus" element.  Horszowski does much better here
as the slow tempo allows him to concentrate on some artistry.  Perahia
gives the most tender performance, Leonhardt the most incisive.  Gould adds
some absurd ornamentation which detracts from what could have been another
outstanding interpretation.

A fast paced Passepied I and II follow with I in the minor key, II in
the major key.  As one would expect, I is darker and more dramtic than
II which has an uplifting quality.  After listening to each version, I
can definitely confirm that I like the music best played in a relatively
seamless manner with a strong foundation.  With Horszowski, I don't even
think about those matters, because he muddles his way through the piece;
this is a throw-away performance.  Perahia, Watchorn, and Schiff are
better, but not in the seamless mode and their foundation is weak.  Gould,
Leonhardt and Levin are the ones that provide the foundation, a great
deal of poetry, and excellent counterpoint.  I do wish that Leonhardt had
observed the Paasepied I da capo, but his performance is quite impressive
with a desireable aristocratic beauty.

The concluding Gigue is a relatively stern and very powerful piece with
the second theme inverting the first theme; the beginning of both themes
has that "world gone crazy" sensation which I often feel from Bach's music.
For me, excitement must be as strong as possible and of the type that's
just about over the edge.  Each version is very impressive except for
Horszowski who is low on excitement.  With the others, the one I was
listening to at the time seemed the best.  Levin is relentless, and that's
great for this music.  Gould is very fast and thrilling.  Schiff and
Perahia are the most poetic but never lose sight of the basic messages.
Leonhardt and Watchorn drive the music hard and convincingly.

Summary for Suite No. 5:

This is Gould's suite all the way.  No other version at any time does
better than Gould.  Leonhardt leads the remaining versions which are all
fine accounts except for Horszowski.

For Suite No. 6, the six sets will be joined by Angela Hewitt on a DG disc
coupled with other Bach works; I have fond memories of this recording.

Don Satz
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