Bach’s Toccatas, BWV 910-916, are seven pieces which we don’t believe Bach collected as a single corpus, such as the six partitas or the aria with thirty variations known as the Goldberg Variations. These works, rooted in North German models, are believed to be among Bach's early compositions.

The term "toccata," derived from Italian, originally referred to a kind of freeform prelude, serving as a warm-up for the performer. In Bach’s Toccatas, however, there are sections of counterpoint that carry a formal quality. Unlike the prelude and fugue structures in his organ works (often termed toccata and fugue), these pieces align more closely with the stylus phantasticus, characterized by contrasting sections. To modern ears, these pieces may seem brimming with musical ideas, rich with dramatic material.

Enrico Baiano's new recording brings these works to life on the harpsichord, an instrument that seems ideally suited for them. While these pieces could historically be played on an organ (though no pedal parts are included), the harpsichord's percussive clarity enhances their intricate details. Reconnecting with Baiano’s artistry through a friend’s recommendation, I found his interpretations compelling. Although there are no liner notes provided via Qobuz, Wikipedia offers a good overview of Baiano’s biography.

Youthful Flamboyance and Dramatic Flair

The Toccatas remind me of the capriccio in Bach’s Fifth Brandenburg Concerto in style, a stark contrast to the introspective, serious nature of later works like The Art of Fugue or The Musical Offering. This flamboyant style can be seen as “youthful,” with Bach possibly showcasing his technical prowess and rich, compressed musical ideas.

My longstanding favorite for these pieces was Pierre Hantaï, known for his intellectual depth and technique. Yet, in my advancing age, I find myself more open to the flash and drama Baiano brings. Imagining a young Bach impressing his audience with such a display of skill, we might forgive what seems like a show of technical prowess, evoking comparisons to the exuberant performances of today’s young artists.

C Minor Toccata, BWV 911

This piece opens with a warming-up vibe, offering an initial taste of Bach’s thematic material. The hands follow each other in a cascading sequence, concluding twice in the lower register. The next section, with its sustained notes and harmonic movement, evokes an organ-like grandeur. Baiano’s harpsichord, though lacking a 16’ stop, conveys the majesty of Bach’s writing with remarkable depth.

The haunting contrapuntal theme that follows showcases Bach’s mastery in counterpoint and his skill in crafting affective fugue subjects. Baiano's control over the instrument is evident, coaxing beautiful sonorities and bringing a dynamic conclusion to the toccata.

D Minor Toccata, BWV 913

This piece's opening has a distinctly organ-like feel, despite the absence of a pedalboard. Baiano’s use of multiple keyboards effectively mimics the timbral shifts of an organ. His swift tempi and subtle pauses enhance Bach’s phrasing, creating a breath-stealing experience.

Midway through, Bach pivots dramatically, reminiscent of operatic recitative but firmly rooted in keyboard music. Baiano’s interpretation keeps the listener on edge, especially during the fugue’s repetitive yet thrilling build-up to the finale. His ability to balance speed with expressive slowing adds to the performance's intensity.

D Major Toccata, BWV 912

The opening of this piece is arresting, capturing the audience’s attention with youthful bravado. Baiano, though not a young virtuoso himself, channels the spirit of the young Bach brilliantly.

The later half goes full-tilt, contrasting full orchestral vigor (or all stops open on an organ) with quieter passages in full baroque spirit. Baiano's performance does nothing less than confirm Bach's superiority.

Conclusion

Enrico Baiano’s interpretations of Bach’s Toccatas are a delight. Each piece is presented with technical brilliance and interpretive depth. Baiano’s playing feels authentic and deeply connected to the music, making this album particularly special.

I was impressed by the instrument's sound, especially the rare use of lower octaves that suggest a possible 16’ register. Baiano's tasteful execution of these details enriches the listening experience, making this recording a standout. I may not figure this out with any authority, but his instrument does possess a lower octave set of wires I will admit he uses them infrequently but with great taste.

In presenting Bach’s music with unapologetic clarity and great taste, Baiano offers much to enjoy. This album earns my highest rating and admiration.