Among the purists are
those who have a strong preoccupation
with "authentic" musical performance.
Music must be performed only on instruments
relative to the period of composition;
embellishments and repeats must be executed
to the letter. Other than that initiated
by the composer, transcription and adaptation
for disparate instruments is frowned
upon. If you are of such a disposition
this recording may not be for you because
it embraces much of the above and to
"rub salt into wounds" even
incorporates the dubbing of musical
instruments! If your love of music is
less restrained by such barriers and
limitations this recording will bestow
much enjoyment.
The genius of J.S.
Bach requires no confirmation or affirmation
but recordings such as this are a constant
reminder. Bach was a master of adaptation
and re-arrangement and it is difficult
to conceive his disapproval of competent
adaptations of works such as the unaccompanied
cello suites for viola and classical
guitar. It is through the art of the
transcriber that we are able to enjoy
old familiar friends in new guises.
In some instances the results may exceed
the original! Albéniz is purported
to have expressed preference for guitar
transcriptions by Tarréga over
his originals for piano.
In the main the programme
presented on this disc has its genesis
in re-arrangement and adaptation. It
comprises three concertos for two harpsichords,
BWV1060. 1061, 1062 and BWV 1063 for
three harpsichords. Only 1061 was written
for two harpsichords and strings (1061(a)
is an original version for harpsichords
only). The others are all adaptations
e.g. 1062 was taken from the popular
concerto for two violins in D Minor;
1060 will be readily recognized as the
concerto for oboe, violin and strings.
Some may claim that
the use of pianos as a substitute for
harpsichords is a loss rather than a
gain. Sir Thomas Beecham probably would
not have concurred, having once referred
to the sound of the harpsichord as reminding
him of "two skeletons copulating
on a tin roof." This writer does
not share the same degree of antipathy,
but here the piano is no compromise
and facilitates a greater degree of
expression, particularly in slow passages.
As to the degree of loss/gain this is
a subjective call - listen to the Christopher
Hogwood versions of BWV 1060 and 1062
for harpsichord on L’Oiseau-Lyre 421500-2.
The twin sisters Güher
and Süher Pekinel are recognised
internationally as keyboard artists
of high calibre. Born in Istanbul they
first appeared in public at the age
of six. They were discovered by Herbert
von Karajan in 1984 and subsequently
invited to the Salzburg Festival to
which they often return.
Notes that accompany
this disc refer to their general performances
as "demonstrating extraordinary
musicality, keyboard command and unanimity
of style and execution". This particular
performance epitomises all those musical
virtues. It can be enthusiastically
recommended to provide 56 minutes of
musical pleasure to all except maybe
the "pre-occupied purist".
Zane Turner
Güher and Süher Pekinel (Piano)
