AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |
Back to Blog
Nevertheless, whatever novelty there is of “Jarrett playing Bach” wears off quickly, allowing the listener to focus on the music rather than dissect the performance thereof. Jarrett opts for a no-frills approach, though he has made a bold decision in recording the first book on piano and the second on harpsichord. Essentially a series of preludes and fugues written for keyboard students and enthusiasts, The Well-Tempered Clavier consists of generally short pieces, each its own microcosm of energy and ideas. For what it’s worth, Jarrett toes the line between restraint and levity, humbly approaching the music from below rather than attacking it from above. And while one cannot, of course, completely disavow a performer’s presence, this presence can be intrusive and overblown all the same. What Jarrett does seem interested in is taking his ego out of the equation as much as possible. Neither does he seem interested in laying to rest-despite critiquing others’ approaches, particularly Glenn Gould’s, in his liner notes-the ongoing debate of authenticity regarding the interpretation of Bach (and if you ask me, perhaps not even Bach ever played Bach “authentically,” tailoring as he did his keys and tempi to the occasion). That being said, I don’t think Jarrett is out to “prove” anything here. On these recordings of Bach’s The Well-Tempered Clavier, Jarrett proves himself to be a more than consummate classical performer. Keith Jarrett never ceases to astound me: not because of his chameleonic ability to shift between jazz and classical music, but by the sheer passion and commitment he brings to both.
0 Comments
Read More
Leave a Reply. |