Bach's Chromatic Fantasia & Fugue, BWV 903 is a stunning masterpiece of
the keyboard literature. Why "chromatic"? - because the music frequently
strays far afield form its home key of D minor. The Fantasia, in this
case, refers to a prelude of freely constructed musical form which is
followed, in this work, by a relatively strict fugue. The Fantasia has
three sections: toccata, recitative, and combination of the two, while
the Fugue has three voices.
Bach might have started the work in Cothen in the 1720's but its finished
form as we know it comes from Leipzig many years later. I think of this
work as a wild creation of harmonic daring. It is very strong, dramatic,
and authoritative music of great virtuosity. Its combination of complexity
and musical inspiration never ceases to amaze, especially with the Fantasia
representing written-out improvisation. Another fantastic feature of the
work is, for me, the occult world which I feel from the Fugue. Whenever I
listen to a version which I find excellent, I get the sensation that the
underworld has risen to take over the the world of the living.
Woolley and, of course, Koroliov are back from the French Overture survey.
The other versions for comparison are:
Maggie Cole (harpsichord) - Virgin 90712 (now reissued on a bargain 2-cd set).
Igor Kipnis (harpsichord) - Arabesque 6577.
Angela Hewitt(piano) - Hyperion 66746.
Joseph Banowitz(piano) - Naxos 8550066.
Robert Aldwinkle(harp.) - MCA 5924.
Before doing the survey, I should relate my view that the harpsichord
starts out with a possible advantage over the piano. The Chromatic
Fantasia and Fugue is highly angular in form and when that feature is
combined with the devilish mood of the Fugue, I think the stage is perfect
for the harpsichord. But, I love the piano and am looking forward to
hearing how the three surveyed versions deal with this music.
Among the piano versions, Banowetz can't really compete with Hewitt or
Koroliov. Banowetz plays the notes well and provides some beautiful
music-making but glides on the surface of the music. There is no
underworld in this reading. What I like most about the recording is the
sound stage; it's rather stark and clean with the piano sounding well
detailed. I think that most of the angularity of the performance comes
from the sound, not Banowetz. Overall, this is not one of the better
versions, but it does have much to offer and is enjoyable. I could very
well end up feeling that it's a great version for auto travel, and
listening time in the car is no small matter.
A list member had posted me privately and said, concerning one of my
surveys of a work with many movements, that I was well on my way to a
complete mix and match among all the versions. Although the subject
work only has, in effect, two movements, I feel that way with Hewitt and
Koroliov. Koroliov's Fantasia has tremendous clarity, detail, and weight.
It's also very poetic and lyrical, but the strength and detail of the
performance is what makes it a majestic interpretation. Hewitt's Fantasia
is much less detailed than Koroliov's; her fast trills are somewhat blurred
(her or the sound); the reading has some fine passages but my overall
impression is that this version is not highly distinctive. Concerning the
Fugue, this is the perfect music for cranking up the volume and entering a
world of high excitement and danger. A great performance turns up the heat
and mystery and doesn't let you go. That's what Hewitt does, and it's
quite an experience to listen to her. By contrast, Koroliov habitually
gets soft; momentum is lost and intensity ruined when this happens. So,
put together Koroliov's Fantasia and Hewitt's Fugue as you've got one
transcendent performance. But, you have to buy both to get this
combination. That's what I did, and I'd do it again without hesitation.
On to the Harpsichord. Maggie Cole is quite good, and listening in
isolation, she might sound even better. But playing Woolley's version
along-side Cole's allows me to hear that something's missing. And I
think that it's a mastery of the idiom and pacing that's a little lacking.
However, Cole is definitely preferable to Banowetz. She digs into the work
intensely and is very successful. Aldwinkle is also very good. He's fast
in the Fantasia with a little loss of detail, but his slow tempo in the
Fugue works beautifully without sacrificing momentum.
Both Woolly and Gilbert are on the high level of Hewitt and Koroliov. They
don't quite reach the "special character" of these piano versions but are
more consistently excellent with great pacing, drama, and detail. In my
opinion, these four versions are the ones to have. And, so far, Koroliov's
recording is looking very good - two works performed excellently.
Don Satz
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