Johann Sebastian Bach (1685-1750)
          Solo Keyboard Works

Disc 1:
Goldberg Variations, BWV 988 *
Chromatic Fantasy and Fugue, BWV 903
Italian Concerto in F major, BWV 971
Disc 2:
Two Part Inventions, BWV 772-786
French Suite No. 3 in B minor, BWV 814
French Suite No. 4 in E flat major, BWV 815
French Suite No. 5 in G major, BWV 816
French Suite No. 6 in E major, BWV 817

James Friskin, piano
Recorded at Vanguard's New York City Studios, 1954
Recorded at the Masonic Temple, Brooklyn, March 1956 *
The Bach Guild/Vanguard Classics 1247 [2cds - 139:34]

Comparisons:
Goldberg Variations: Gould/Sony(3), Tureck/DG/Philips, Schiff/ECM
Chromatic Fantasy and Fugue: Rubsam/Naxos, Koroliov/Hanssler,
Hewitt/Hyperion
Italian Concerto: Hewitt/DG, Banowetz/Naxos
Inventions: P. Serkin/RCA, Gould/Sony
French Suites: Hewitt/Hyperion, Gavrilov/EMI

Never having heard of James Friskin, I did some internet searches
without coming up with much information.  Friskin has written a book on
music instruction and likely has been a teacher as well as performer -
that's about it.  However, I did find an unrelated tidbit of information
that's interesting.  In May 2001, the Northport Arts Coalition sponsored
a concert where 32 different pianists played one piece each of the
Goldberg Variations.  In April 2002, another concert took place where
34 pianists played one piece each of Beethoven's Diabelli Variations.
How's that for an intense "mix and match" performance session?  I imagine
the logistics of it all must have been formidable, but there are always
challenges when you embark on unusual missions.

If you look at the heading above, you might notice that Friskin plays a
great deal of music for only two discs' worth.  For example, the first
disc has two other Bach works in addition to the Goldberg Variations.
Since Friskin isn't a particularly speedy man, that only leaves skipped
repeats as the source reason.  Of course, in the 1950's, eschewing repeats
in Bach's music was fairly common, so Friskin needs to be forgiven for
leaving them out.

I started out with Friskin's performance of the Goldberg Variations,
and one could carp about three particular items.  First, the upper voices
are often reticient compared to the lower ones.  I initially thought the
reason might be the sound engineering, but additional listening leaves
me feeling that Friskin is largely responsible for the effect.  Second,
he doesn't make much of an attempt to dig into the underside of human
thought; the "Black Pearl" variation and a few others clearly reveal a
less than incisive examination of the music.  Third, Friskin is a long
distance from being a virtuoso; he sounds challenged with some of the
intricate passage work, and he seems to play it 'safe' sometimes in order
to disguise technical shortcomings.

Does the above make Friskin's verson non-competitive?  Not at all.
Since I enjoy his Aria and each of the variations, there is surely
something in his interpretations that is offsetting the negative features
I mentioned.  That something is 'rhythm, swing, and pacing'.  Among
pianists, neither Tureck, Gould, Perahia, nor Hewitt have it.  Actually,
the only other piano version I know that is in Friskin's rhythmic league
comes from Andras Schiff on his new ECM disc.  Times definitely have
been good as of late.

With its sharp contours, the Chromatic Fantasy and Fugue is ideally
suited for the harpsichord, but there are a few excellent piano versions
including the three I list in the heading.  Rubsam is especially distinctive
with his strong punctuation of notes and extensive use of a mild staccato.
To my total surprise, Friskin eclipses these three versions and delivers
the best Chromatic Fantasy and Fugue on record.  I have not encountered
such urgency and tension in this work, and Friskin's performance of the
Fantasy's recitative is absolutely spellbinding with its tension and
exceptional dialogue among voices.  Rubsam may be a thinking man's Bach,
but Friskin is right in the middle of the family dynamics.  Also, the
technical challenges I brought up with Friskin's Goldbergs don't seem
to exist now (studio recording), and the rhythmic swing remains alluring.
I finally have a piano version of the work worthy of standing next to
the satanic harpsichord version by Igor Kipnis on Arabesque.

The Italian Concerto goes well for Friskin in that everything is in place
and his rhythms are still enticing.  However, he could be called rather
subdued in the extroverted and exciting outer movements, and he certainly
can't match the fire-power of Banowetz's 3rd Movement.  Also, Angela
Hewitt has no peers in providing an intense sadness to the 2nd Movement,
and her weeping middle voice cries out to be heard.  By the way, this
is the Hewitt performance on Deutsche Grammophon that came out quite a
few years before her Hyperion recording.  If you don't feel strongly
impacted by her 2nd Movement, you're listening to the wrong version.

As with the works on Disc 1, Friskin continues to sound like a mighty
fine Bach pianist in the Two Part Inventions and the four programmed
French Suites.  Mr. Friskin offers no frills or mannerisms, just an
'honest and true' portrayal of the most outstanding composer of Western
Civilization.  To have the most rewarding piano version of the Chromatic
Fantasy and Fugue on the market is just icing on the cake.  Sound quality
is quite good for the time period.  There is a background hiss, but it
isn't obtrusive in the least.  Further, the notes ring out with fine
clarity and definition.  One last thing - no track timings are provided.

Don's Conclusions: Friskin's performances are excellent throughout and
attain greatness in the Chromatic Fantasia and Fugue.  I think that
serious Bach record collectors would love to have the set, and those new
to Bach will gain much pleasure and insight from the interpretations.
I acquired Friskin's set on a hunch, and this is one time that my
expectations were easily exceeded.  The Vanguard 2-cd set costs less
than two Naxos cds.  Go for it!

Don Satz
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