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| Shira Legmann (© Yoav Etiel) |
Celebrating the launch of her debut classical solo piano album “J.S.Bach: Partitas 1, 3, 4” (℗ © 2019 Shira Legmann) pianist Shira Legmann performed the same three works at a recital in the Ran Baron Hall of the Israel Conservatory of Music, Tel Aviv, on September 21st 2019.
These keyboard works take their name (Partita or Partie) from the “Neue Clavier-Übung” of Johann Kuhnau, (Bach’s predecessor as cantor of the Thomaskirche, Leipzig) and are modelled on them. On the title page of Partita No.1, published in the Autumn of 1726, Bach refers to the works as “Keyboard Practice, consisting of preludes, allemandes, courantes, sarabandes, gigues, minuets and other galanteries, composed for music lovers, to refresh their spirits…” It was the time when keyboard instruments - the clavichord, spinet and harpsichord, in particular - had become popular house instruments among the growing number of middle-class amateur musicians. The Partitas, however, with their sophisticated musical agendas and extraordinary demands of technical agility, would not have been within the ability of many of these amateurs; the works do, however, constitute a significant landmark in his career at this particular point in time. Bach’s Partitas add new dimensions to the form, both in his high-minded key scheme, his treatment of Italian- versus French dances and in the freedom with which he expands on the inherent expressive possibilities of the dances.
Opening with Partita No.1 in B-flat major, Shira Legmann takes the listener into the work’s sunny tonality and accessibility as the mordent on a 32nd note triggers the Praeludium and she proceeds to spell it out with noble, articulate melodic lines and fine precision in both hands. No less transparent (despite elaborate use of the sustaining pedal) are the suite’s dances - the spritely Allemande, with its 16th-note chatter up and down the keyboard often split between the hands, in which all strands of the contrapuntal texture emerge clearly at any given moment, the joyful, Italianate romp of the Corrente and Legmann’s reflective, subtle playing of the Sarabande graced with some ornamentation. Following the Minuet galanteries, she explicates the drama of the Gigue, as impressive to observe as it is to hear, its hand-crossing between the bass and treble giving rise to the movement’s antiphonal echo effect throughout.
If the B-flat major is characterized by its luminous and delicate nature, Partita in A-minor BWV 827 shows Bach breaking the rules of the Kuhnau model and begging to differ. Legmann takes on board the intricacies and detail of the Fantasia, her playing addressing its two-voiced dialogue with intensity and suspense. Her playing of the Allemande, more relaxed, guiding the listener through its ornaments, arabesques and harmonic progressions and shaping them with gentle flexing, gives way to the Corrente, her rendition of the latter entertaining in its asymmetry and intricacy, a reminder of the richness and fantasy on offer in the two-voiced texture. Her playing of the Sarabande, never sluggish or melancholy, emerges from an inner composure, as she engages in Bach’s play of low and high registers. As for the two galanteries, the Burlesca and Scherzo (Bach’s only use of the Scherzo) are bold in touch and display dynamic contrasting, paving the way for the Gigue, wrought of the same energy, gregarious and celebratory and signing out with a lush flourish.
The Fourth Partita in D-major, is arguably the most cohesive of the collection, also testifying to Bach's unfailing imagination and rich variety of styles and moods. Richard Goode has referred to the work as “radiant, courtly and grand”. Legmann’s study of the substantial Ouverture is dramatic, agile, at times light and lilting, as she tosses melodies from hand to hand, embellishing with spreads and ornate connectors, then to present the no-less-substantial Allemande with tranquility and expressive depth. The Courante, embellished and light-of-touch with its left hand comments, and the jaunty Aria lead into the gently-paced Sarabande; here, time appears to stand still as Legmann’s small poignant silences create moments to explore inwards. Following the crisply non-legato Minuet (her playing bringing to mind the harpsichord lute register, dare I say), Legmann brings off the Gigue with a sense of urgency, as she highlights Bach’s resplendent contrapuntal web with dazzling energy.
Pianist Charles Rosen has spoken of the “strange notion that Bach didn't compose for the piano''. He reminds us that the composer was “familiar with the piano” that it “was invented during his lifetime, and he not only played the piano, but actually composed at least two of his pieces specifically for the instrument'' (Tim Page, New York Times, June 8th,1986). Bach owned an “improved” piano built by Gottfried Silbermann. András Schiff refers to one difference between Bach’s piano and the modern instrument, when he writes that “the sustaining pedal was not at his disposal on any of the keyboard instruments of his time” and warns pianists “not to underestimate the danger of damage that can be caused by indiscriminate use of the pedal” (Vancouver Recital Society, July 19th 2012). So here we have Shira Legmann performing J.S.Bach on the modern piano. Served by a fine technique, her playing is prudent, intelligent and tasteful, her enquiry into each movement/dance informed, colourful, attesting to Bach’s originality and as profound as her overall perspective on each Partita. As to her use of the sustaining pedal, abundant and skilful, she wields it in such a way as it leaves melodic lines, phrasing and harmonic progressions as clean as a whistle!
Israeli-based concert pianist Shira Legmann (b.1981, Germany) performs both classical- and new, experimental music. Co-artistic director and member of Musica Nova Ensemble (Tel Aviv) a unique collective comprising musicians and sound artists, she also engages in improvisation, composing, curating concerts and interdisciplinary work. .
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