Bach sous Les Tilleuls

My original exposure to double-harpsichord music was an oft-referenced album by Skip Sempé and Olivier Fortin, which I believe was titled “Bach - Vivaldi.” While others followed into my collection, this original one set the bar so very high. (The re-issue on Sempé’s own label Paradizo is titled Bach 2 Harpsichords.) That original album, recorded in 1998, featured the following Bach works:

• BWV 545,
• BWV 1005,
• BWV 974,
• BWV 968,
• BWV 541,
• BWV 972,
• BWV 592,
• BWV 1010,
• BWV 966,
• BWV 547,
• BWV 595,
• BWV 965,
• BWV 593*, and
• BWV 1006.

If you’re going to look this album up, I recommend that last two tracks for the ultimate taste-test. This new album by Loris Barrucand and Geoffroy Clément only overlaps with the one piece, starred above. It contains some interesting works, including:

• BWV 593 (from Vivaldi’s op. 3., no. 8),
• BWV 659 (Num komm’ der Heiden Heiland),
• BWV 596 (from Vivaldi’s op. 3., no. 11),
• BWV 582 (the Bach great Passacaglia in C minor),
• BWV 1060 (Bach’s double keyboard concerto in C minor).

The inspiration for this album was a belief that (a) all of Bach’s music has not survived, and (b) to create enough material for Collegium Musicum concerts, Bach must have arranged some of his own pieces for entertainment with two harpsichords.

For me, the rationale behind this music isn’t important. We’re long past needing permission, I feel, to arrange Bach’s music. While the historical precedent was established of Bach being an arranger himself, the stronger argument for me is that Bach’s music works so well when translated. And as a fan of this enterprise in the past, I am somewhat happy that this new album doesn’t try and re-create the effort by Sempé and Fortin, but instead, acts nearly as a continuation of that effort.

Albeit, with a bit different style. Despite the age on the Sempé/Fortin album, I prefer its sound. For my ears, it’s a bit clearer, and some ways, the playing is tad more sophisticated in approach. Given that both albums cover the concerto, BWV 593, there’s no question in the difference in sonic qualities between the albums. That said, the collaboration titled Bach under the Lime Trees has some special moments of interest.

I can’t get enough of BWV 659; my favorite rendition is one with organ and cello obligato by Bruno Cocset; this version, however, is nice too. The melody in this case is realized by the instrument on the left-side of the stereo image.

The concerto originally by Vivaldi, and arranged by Bach for organ, BWV 596, is well-rendered. The ending has such bass presence that it’s possible to hear the instrument strings on the point of over-vibrating. I’m not a harpsichordist, so I don’t know how likely it is that the resonances from one instrument can influence the vibration of the brass strings on a harpsichord, but the effect, at least on record, is an awesome one. Those listening without a strict adherence to historical authenticity may just want to turn the volume up past, well, whatever number matches your fancy.

The great Passacaglia for organ is on my Best of Bach list, if I were ever to publish one. While the original version for organ is perfectly adequate itself, I’ve also been partial to the arrangement of one by Fretwork. There’s a lot of opportunity in this arrangement to add texture with ornamentation, which both musicians do with great relish. In all, I felt this arrangement works well.

Another track that I thought worked very well was the middle movement of the double concerto, BWV 1060; the duo here chose a good tempo. The faster tempo allows the melodic material to sustain appropriately without the harmonic support of strings; the same goes for the approach, while different, in the second movement of the aforementioned Vivaldi arrangement, BWV 596.

An odd piece to include, I thought, was Bach’s Pedal-Exercitium, BWV 598. Designed to be played by the feet, this thundering racket exploits again the lower register of the instruments. The result is supremely satisfying. (Even so when I turn down the volume to normal levels!) These guys get the pleasure of what a harpsichord sounds like immediately after releasing the keys. So refreshing!

This album for me was a great pleasure to discover and listen to, upon multiple occasions. Both harpsichordists possess great intelligence of style and the technical experience at playing well in tandem. Here’s to the hope that they continue their exploration of transcribing, arranging, and playing together.

The enterprising among you, with a digital playback system, may wish to interleave this album with the one mentioned in the opening. It’s fodder for those of you willing to advocate for “More Harpsichord!” in the style of SNL’s Christopher Walken sketch involving, no, not a clavecin, but a cowbell.