Johann Sebastian Bach (1685-1750)
12 Preludes & Fugues from the Well Tempered Clavier Book I
Dmitri Shostokovich (1906-1975)
12 Preludes & Fugues from Opus 87

Disc 1:
No. 1 in C major (S)
No. 20 in A minor (B)
No. 15 in G major (B)
No. 10 in E minor (B)
No. 5 in D major (S)
No. 6 in B minor (S)
No. 7 in A major (S)
No. 14 in F sharp minor (B)
No. 9 in E major (B)
No. 4 in C sharp minor (B)
No. 11 in B major (S)
No. 12 in G sharp minor (S)

Disc 2:
No. 13 in F sharp major (S)
No. 8 in E flat minor/D sharp minor (B)
No. 3 in C sharp major (B)
No. 22 in B flat minor (B)
No. 17 in A flat major (S)
No. 18 in F minor (S)
No. 19 in E flat major (S)
No. 2 in C minor (B)
No. 21 in B flat major (B)
No. 16 in G minor (B)
No. 23 in F major (S)
No. 24 in D minor (S)

Olli Mustonen, piano
Recorded November 2002
Released March 2004
Ondine ODE 1033-2D [2cds - 105:25]

Comparison Versions: Are You Kidding?

There are a whole bunch of odd things going on in this 2-cd set.  We
have a pianist who insists on being different, particularly with Bach.
One moment he's giving us whiplashed notes that I'll call 'stingers',
the next moment he sounds rather demure and extremely precious.  Mustonen
offers waves of changes in tempo and dynamics that you never knew existed
(and perhaps don't).  Rhythmic patterns are critters to dissect and then
rearrange.  Throughout it all, Mustonen displays a level of virtuosity
I wouldn't have thought possible; this man can do anything he wants on
the keyboard.

The program is one you haven't seen recently: 12 preludes and fugues
from Bach and 12 from Shostakovich, all sequenced the Mustonen way.
Does the Bach/Shostakovich/Mustonen consortium make any sense, or is
this corporate endeavor dead in the water?

In answering the above question, it is important to take a look at
the applicable Bach and Shostakovich works.  Each is based on the laws
of mathematics and represents a logical entity; slice it up, and the
coherency disappears unless the person doing the slicing comes up with
entirely new logic.  In my opinion, Mustonen does no such thing.

There are a number of reasons one could find to detest the recordings.
Many will consider Mustonen highly willful and full of himself, refusing
to accord either composer sufficient respect.  Concerning the program,
it would be easy to dislike this particular mix of two musical eras.
Although the Shostakovich Op.  87 is steeped in Bach's architectural
language, the emotional content is so different because of respective
personalities and especially the highly divergent ways of life that the
two composers faced.

This issue of 'ego' is hard to pass by.  Mustonen has taken two of
the greatest piano compositions ever created and literally torn them
to shreds.  Does he consider himself to be on a higher artistic plane
than Shostakovich and Bach?  Is every score ever written just fodder
for self-interest?  Of course, I have no idea what Mustonen thinks
about this, but his actions speak clearly to this reviewer.

Actually, Mustonen's readings of the Shostakovich pieces are tame and
conventional compared to what he does to Bach's soundworld.  He generally
destroys it and instead offers up 'Mustonen Land'.  In some of the Bach
pieces, you could be hard pressed to even recognize that Bach is the
composer.  This is most noticeable in the Fugue in A minor where his
excessive speed and rhythmic distortions entirely alter the composer's
score.

If Mustonen was simply a typical professional pianist, my review
would end with the strong advice to stay away from his new recording.
However, Mustonen is no ordinary pianist.  In terms of enlightened
pianism, technique, and the ability to communicate and challenge, he
is the best in the business.  As wayward as this two-disc set may be,
Mustonen is always compelling.

Don's Conclusions: It's your decision whether 'Mustonen Land' is a
place you want to visit.  The one thing I can guarantee is that you won't
forget the experience.  So give some thought to the matter, secure your
passport, and enter a unique world.  Don't forget to take your shots,
because those Mustonen 'stingers' penetrate to the core.

Don Satz
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