In a 1993 master class that I attended, Vladimir Feltsman critiqued a young pianist’s performance of a Bach Partita for underselling the music’s dance origins. Feltsman’s recording of the Partitas conveyed these characteristics brilliantly, and his French Suites prove equally invigorating. While he doesn’t quite match the rounded sonority and minute dynamic calibrations of András Schiff and Angela Hewitt in this repertory, Feltsman’s robust tone, emotional directness, and tasteful, spontaneous ornamentation more than compensate.
For example, in the G major French Suite’s famous Gavotte Feltsman’s strong, imaginative left-hand underpinning propels the music to delightful effect, in contrast to Schiff’s relatively arch agogic phrasings. If the E-flat Suite’s Gigue starts out somewhat plain and heavy-gaited, not to worry: Feltsman’s embellishments and dynamic shifts on the repeats add needed buoyancy. By contrast, Feltsman’s cantabile opens up in the Sarabandes to the point where the slow tempos float forward and upward.
The pianist’s inspiration takes memorable wing in the French Overture. He brings a wonderful improvisational ebb and flow to the opening movement, applying little dabs of pedal when needed, and clearly enjoying himself when arpeggiating cadential chords. Too bad he didn’t take all the repeats, if only to prolong the fun! Feltsman shapes the Courante from the bottom up, with the bass line to the fore and those low B-naturals proudly ringing out. The final movement’s echo effects don’t register so distinctly as in the old Rosalyn Tureck recording, yet there’s plenty of character to Feltsman’s crisp articulation and inner rhythm. In Feltsman’s hands, Bach’s notes dance off the manuscript page and come to vibrant musical life. Recommended.
