Double Review: Bach Keyboard Concertos

These two releases from Tianqi Du and Gile Bae feature J.S. Bach’s keyboard concerti, with an immediately noticeable difference being that Bae offers the full set of five plus a little extra—the Italian Concerto in an orchestrated version by Antonio Piovano. Du omits No. 2 and performs his selections in a different order. Interestingly, both pianist recorded the Goldberg Variations before committing these concertos on record.

Amazon: Bach – Keyboard Concertos – Tianqi Du

Amazon: Bach – Keyboard Concertos – Gile Bae

The origins of the most famous and often-played of the keyboard concerts, No. 1 in D minor, are murky: some sources claim that it came from a long-lost violin concerto. If we think in terms of this conjecture, Bae’s interpretation of the keyboard part seems to correlate with the strings bow phrasing. Not only is her tempo more sprightly than Du’s, but her plucky, crisp articulation is reminiscent of a violin’s spiccato. This is helped by the recognizable bell-like sound of the Bösendorfer pianos used for this recording (Du uses a Steinway piano). Bea is also more laborious with ornamentations and the energy level is a notch higher than Du’s.

Du’s slower pace and thoughtful approach to each note gives off a more emphatic vibe. Naturally, the resulting dynamic between soloist and ensemble in each performance ends up quite different. Bae and the Archi di Santa Cecelia under Luigi Piovano sound more integrated, but this has its occasional downsides — it’s harder to distinguish the keyboard’s presence, especially in the tutti sections. Du’s approach results in a more intense dialogue with the ensemble, where each force assumes its own insistent stance.

The concerto’s finale, too, highlights the differences in style: Bae’s brisk, forward-driven take breathes a commanding momentum into the music. Du’s articulation, less pointed, speaks to the elegance of Bach’s writing.

The sunny demeanor of Concerto No. 2 is in stark contrast to the previous selection. While Bae’s angular textures fit well with the driven nature of the first concerto, they feel a little more out of place here, especially in the ritornello’s rather clippy chords. Du takes a little more time to rest on the vertical textures, which allows their resonance to permeate the sound space; more cushioned articulation also proves effective in bringing out the lyricism of the solo lines.

However, neither interpretation quite hits the spot: Bae’s lines are clear as a bell, but some entrances come off a bit abrupt and harsh, while Du’s certainly has the emotive, elegant pathos but gets lost in the ensemble. Taking the positive elements from both performances would result in a perfect rendition.

Gile Bae, Tianqi Du

Similar aforementioned stylistic differences appear in Concerto No. 4, but each interpretation of the outer movements proves effective in their own ways. It is the middle movement that things are wanting in both versions. Du’s is admittedly beautiful, possessing the elegant melancholy that suits the Baroque idiom. Yet I found the pacing a tad slow and some moments of articulation dry, where a legato would do.

Bae’s upholds the integrity of the long lines with its faster take on the 4th concerto, but ultimately feels too emotionally detached. The interpretation that really hits the spot is Murray Perahia’s acclaimed recording, with none other than St. Marin in the Fields—the same ensemble Du plays with. This version maintains the integrity of the phrasing without making things sound rushed. And the most winning aspect in Perahia’s version is the unparalleled fluidity of his playing, one that breathes a wistful and sensitive vocal quality into the melodies.

The liner notes for both albums prove excellent, with both including insightful interviews with the performers. The reflections show Du as an intellectual and highly knowledgeable pianist and Bae as equally thoughtful and clear-sighted about classical music in the modern age. Both interviews show the enthusiasm that the pianists have for these works. The occasional hits and misses aside, this attitude is duly reflected in their enjoyable performances.