Johann Sebastian Bach (1685-1750)
    The Well Tempered Clavier, Book 1

Preludes & Fugues, BWV 846-869
Pierre Hantai, harpsichord
Recorded 2001/02
Mirare 9930 [114:38]

Comparisons: Gustav Leonhardt/EMI, Glen Wilson/Teldec

The highly esteemed Pierre Hantai has now entered the Well Tempered
Clavier sweepstakes with his new recording of Book 1.  Hantai, born
in 1964, studied harpsichord with Arthur Haas.  He eventually became
a regular member of Sigiswald Kuijken's La Petite Band and has also
worked often with Jordi Savall.

Hantai is no stranger to Bach's music, having made quite a few recordings
as an ensemble member and soloist.  Perhaps his most impressive Bach
offering to date is the Opus 111 performance of the Goldberg Variations
which won uniformly glowing reviews and a few awards.

Digressing a little, I felt very lucky when I found this new set in the
used bins of a local record store.  I wouldn't have even expected the
set to ever find its way to Albuquerque.  It's also likely that the
recording isn't being distributed in the United States, so I do consider
myself a lucky guy.

Does the good luck continue into the Hantai performances?  Before
answering that question, I should relate the one skepticism I've had
of Hantai's music making since he first entered the world of recordings.
From my perspective, Hantai doesn't like to get his hands dirty.  He's
a positive guy who finds the underside of human emotions and the angst
of existence far from his comfort zone.

On the plus side, Hantai is usually a very fluid player with a consistently
winning notion of rhythmic flair.  Therefore, upbeat music tends to play
into his strengths, although he surprisingly disappoints in this area
now and then as discussed below.  These are the reasons I can not recommend
this new set of Bach performances with any enthusiasm:

The Prelude in C minor doesn't pass muster at all, because the upper
voice is much too recessed and even disappears under the weight of the
stern and growling lower voices.  This represents a huge problem of
balance that I place at the steps of the engineers who seem to have
forgotten that for voice interplay to be effective, each voice must be
heard and needs some space.

Then there's the Prelude in the key of C sharp minor which Hantai
works at giving a major key personality.  Listen to Wilson, Leonhardt,
or any other number of performances, and you'll hear some incisive
negativity encompassing regret and inner turmoil.  Hantai wants none of
that business.  He takes the weight off the music through quick speed
and glancing infections, sounding as if he's simply breezing along in
the park.  Given that the music is in C sharp minor and the greatest
artists play the piece for its deep emotional longing, I have to conclude
that Hantai is on the wrong track with his reading that doesn't touch
me in the least.

Overall, Hantai simply doesn't dig deeply into the minor key pieces.  Of
course, there are a few exceptions, highlighted on Disc 1 by his reading
of the Fugue in F minor that concludes the first disc.  For whatever
reason, this time he delves into the heart of the music's severity.  By
doing so, those rays of light that Bach eventually conveys are all the
more stunning and wonderful.  Unfortunately, Hantai excellently contrasts
darkness and light infrequently.

The severity of Bach's music increases as the work progresses, but
Hantai doesn't take us along for the ride.  The first motif of the Fugue
in G sharp minor has a strength and desperation to it that is spellbinding,
and Bach's repitition of it keeps upping these traits.  Wilson is sharp
and penetrating, conveying emotional dread; Hantai's a pussycat in
comparison.

Another problem involves Hantai's use of hesitations.  This type of
expression has the potential to enhance poignancy, and there's even the
possibility of changing the music's flow in a compelling manner.  Hantai
does none of this, his hesitations sounding arbitrary or greatly damaging
the musical flow such as in the Prelude in A flat major.  Listen to Glen
Wilson's version of the A flat major and you'll hear unbridled joy; he
drives forward enthusiastically with priority on the music's high-spirited
nature while Hantai seems overly concerned with his hesitations and
structural changes.  This studied approach really won't do for one of
Bach's most upbeat creations.

I also am not very impressed with the sound engineering.  Although I've
read that the sound is "gorgeous", I find it rich and rather wet.  The
result is a soundstage that does not want to convey substantial detail
and it wouldn't surprise me at all if Hantai has more detail to offer
than the recording allows.  Also, catching all the intricate passage-work
becomes difficult.  Overall, I much prefer Leonhardt's and Wilson's drier
and more clinical soundstage.

Don's Conclusions: Bach's Well Tempered Clavier encompasses all elements
of the human condition in addition to a wealth of structural diversity.
I can forgive Hantai's hesitations and soundstage, but I can't forgive
his refusal to consistently convey the dark side of human thought.
Glenn Wilson, Gustav Leonhardt, and Kenneth Gilbert do offer Bach's full
spectrum and leave Hantai's version by the roadside.  On piano, folks
like Glenn Gould, Rosalyn Tureck, and Frederich Gulda also are much
preferred to Hantai.  Only if you like your Bach on the 'light' side
will Hantai be a favorable guide.  As for me, I'll likely donate the set
to the local library.

Earlier in the review, I noted my good luck in finding the Hantai set
in a local store, but I'm not feeling lucky after many hours of listening
to the performances.  Luck runs out, but there's always tomorrow.

Don Satz
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