Bach - Partitas - Harmonia Mundi: HMC901869 - download

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No double-dotting in the Sinfonia of No 2 or the Overture of No 4; and that alone might be a bone of contention. But there is no consensus on the use of this unwritten Gallic custom.
Couperin,... — Gramophone Classical Music Guide, 2010 More…

Release Date: 8th Aug 2005
Catalogue No: HMC901869
Label: Harmonia Mundi
Length: 77 minutes

Bach, J S: Partita No. 2 in C minor, BWV826

Work length21:10

$6.00

$7.50

Cédric Tiberghien

I. Sinfonia (Grave) - Adagio - Andante

Track length4:25

$1.00

$1.25

II. Allemande

Track length4:54

$1.00

$1.25

III. Courante

Track length2:17

$1.00

$1.25

IV. Sarabande

Track length4:37

$1.00

$1.25

V. Rondeaux

Track length1:24

$1.00

$1.25

VI. Capriccio

Track length3:33

$1.00

$1.25

Bach, J S: Partita No. 3 in A minor, BWV827

Work length18:53

$7.00

$8.75

Cédric Tiberghien

I. Fantasia

Track length1:48

$1.00

$1.25

II. Allemande

Track length3:26

$1.00

$1.25

III. Courante

Track length3:01

$1.00

$1.25

IV. Sarabande

Track length4:05

$1.00

$1.25

V. Burlesca

Track length2:05

$1.00

$1.25

VI. Scherzo

Track length1:19

$1.00

$1.25

VII. Gigue

Track length3:09

$1.00

$1.25

Bach, J S: Partita No. 4 in D major, BWV828

Work length37:26

$7.60

$9.50

Cédric Tiberghien

I. Ouverture

Track length6:29

$1.00

$1.25

II. Allemande

Track length11:37

$1.40

$1.75

III. Courante

Track length3:53

$1.00

$1.25

IV. Aria

Track length2:20

$1.00

$1.25

V. Sarabande

Track length7:37

$1.20

$1.50

VI. Menuet

Track length1:42

$1.00

$1.25

VIII. Gigue

Track length3:48

$1.00

$1.25

Reviews
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Reviews

2010

No double-dotting in the Sinfonia of No 2 or the Overture of No 4; and that alone might be a bone of contention. But there is no consensus on the use of this unwritten Gallic custom.
Couperin, for instance, felt it ought to apply only to French music. Muffat disagreed, and included German music in a French style as well. Cédric Tiberghien doesn't challenge his illustrious compatriot. He obeys the text; and while the searing introduction to the Sinfonia might have gained from a compact, incisive rhythm (the swifter third part would certainly have gained from a slower traversal), the corresponding introduction to the Overture is grand indeed. And here the succeeding section is taken at a credible tempo. The result is a lucid yet animated exposé of an imposing movement.
Tiberghien doesn't attempt to imitate a harpsichord and, apart from a few spread chords, doesn't add embellishments. Again he might be thought of as not adhering to Baroque performing practices. But, with the exception of the Rondeaux in No 2 and No 3's Fantasia, he does observe repeats, though he prefers to vary them through articulation and dynamics rather than decoration. He uses the piano – tonally a touch strident as recorded – mostly wisely, to offer interpretations of Bach that stretch the expressive envelope, particularly so in deeply felt allemandes and sarabandes. Tiberghien may not please everybody; but his emotional involvement with the music is so high, it is a pleasure to recommend this disc.

Bach - Partitas

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