Dances from the various Nation States of Europe were one of the main forms used in the Baroque period of musical history. They became highly fashionable, and every composer and instrumentalist worth his salt was supposed to master them. Collections of dances were also generally financially attractive for music publishing houses. Conventionally they were arranged in suites, often with a national flavour. The French harpsichordists in particular evolved a flamboyant style, adding unequal rhythms to the written equal notes, just as Jazz pianists do today. These were known as 'notes inégales' and were played by the performers according to a generally known formula. Outside France, composers like Bach had to explicitly notate these rhythms for the benefit of their players.

From 1717-1723 Bach was in the employ of Prince Leopold of Anhält-Cöthen. a young and musically enthusiastic ruler. His duties as court Kapellmeister apparently did not include the production of solo keyboard music, so the French Suites were probably mainly for domestic use, especially for teaching his first wife Maria Barbara and their seven children.

In the notes for this disc (and in a recent interview, see http://home.hetnet.nl/~frans.waltmans/cdsfrancescocera.htm), Francesco Cera draws our attention to the fact that Baroque musicians were completely convinced that music could carry rhetorical messages, such as emotions and religious feelings. The use of particular keys was also important; for example according to authorities of the period, D minor (the key of the first suite) is serious and meditative, E flat major was affectionate and emotional, and so on. Cera notes that in the autograph, there are three suites in minor keys, followed by three in major keys. Using the conventions, he postulates that the sequence might represent a journey for the listener, passing from sorrow to religious consolation and happiness. Of course, there is no direct evidence for this, or that the suites were ever meant to be listened to as a sequence at one time - rather they are mostly music for playing, not for audiences. However, Cera's concept gave him a powerful artistic intent for his recital of the complete set, and this certainly seems to have informed and enhanced his playing.

There are many fine interpretations of these suites, which suit the various tastes of listeners, from stern, ascetic purists with little rhythmic flexibility to those who employ some rubato to give warmth and life to the melodic lines, finding much emotion in the pieces. Francesco Cera admits to being in the latter category as an interpreter. His deeply committed and idiomatic performances have a life and vitality which is deeply absorbing. He gives us all the repeats, even the longer ones, but subtly varies the ornamentations and sometimes the registrations, so that the pieces sound as a whole: one is never bored. He is able to float and shape Bach's long melodic lines with grace and poise, and in the slower dances, especially the sarabandes, draws out many levels of pathos and nostalgia, which is deeply touching. One is aware of Bach the father, who saw many of his children die at birth or just after, sharing grief with his wife time after time.

Aside from the soulful movements, the minuets have their comic rustic moments, and the quirky Gigues flash puckishly in jerky dashes or tumble in a waterfall of brilliant notes across the keyboard. Quite simply, these performances are a real joy and surely must join the coterie of best recordings of the suites available.

So that we may compare the French and Italian styles, Francesco Cera also gives us two substantial works inspired by Vivaldi. The Italian Concerto, especially, is given a stunning performance, its opening flourishes leaping off the page like a prancing Lipizzaner stallion.

The harpsichord used here is Roberto Livi's very fine copy of a two-manual French model by Vincent Tibaut from the last half of the C16th. Bach himself would probably have an older harpsichord; on his salary he would not be able to afford the latest imports from France as would his employers. The purity of tone from this instrument is immediately apparent from the first notes we hear, and Cera exploits its many tone colours with judicious and exciting registrations.

The recording is full-blooded and very impressive. The microphones are close enough to pick up some of Cera's intakes of breath and the noise of changing registrations (like pulling a stop on an organ), but there is sufficient air around the instrument to allow it to expand in all its glory into the Faino romana, Rome. All the attack, tangy detail and characteristic high frequency energy is superbly captured by the 96K, 24bit multitrack system, certainly an audiophile's dream and a severe test for speakers.

Invigorating and enlightening fare for those who love Bach and enjoy the sound of a fine harpsichord.

Copyright © 2008 John Miller and HRAudio.net

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