Johann Sebastian Bach (1685-1750)
L'Art de la Fugue, BWV 1080
4 Duos, BWV 802-805
Ricercares, extrait de "The Musical Offering", BWV 1079

Pieter-Jan Belder, clavecin, clavicorde
Gerard de Wit, clavecin

Voilà une interprétation de l'opus ultimum de Bach qui a plusieurs cordes à son arc... de la fugue. D'abord un clavecin somptueux, une copie de Blanchet signée Titus Crijnen (2013) qui sonne toujours juste, scintillant et profond. Ensuite un interprète Pieter-Jan Belder, marathonien du répertoire baroque, expert de son instrument, impeccable technicien possédant dans son jeu d'infimes gradations de toucher, susceptibles à la fois de faire chanter le clavecin (et le clavicorde) et de résoudre avec l'aisance du jongleur les chausse-trappes des différents modèles de fugues tout en maintenant un discours cohérent par un choix judicieux de tempi qui s'avère à l'écoute parfaitement naturel. Enfin une prise de son, modèle d'équilibre et de présence, une gageure lorsqu'on connaît la difficulté d'enregistrer un clavecin. Écoutez donc, dans l'ordre ou le désordre, cet « Art de la Fugue » pour découvrir et surtout ressentir comment une telle somme contrapuntique peut générer magiquement une infinité d'émotions et nous enrichir humainement. Ce que Glen Gould et lui seul avait pressenti et montré. Une totale réussite. (Jérôme Angouillant)

A new recording of Bach’s final testament and love-letter to the art of counterpoint, performed in exemplary style by the Dutch harpsichordist with a catalogue of acclaimed recordings for Brilliant Classics. When he died in July 1750, Bach left tantalisingly unfinished his final masterpiece, The Art of Fugue. He had been composing and compiling it during the last decade of his life, alongside several other compendious projects such as the Mass in B minor and The Musical Offering, whose fugal masterpieces are excerpted on this recording. However, The Art of Fugue remains an absorbing testimony to Bach’s genius and to his life-long love and mastery of counterpoint. A single theme is elaborated with unprecedented variety over the course of 14 fugues and four canons. One of the fugues is composed for two harpsichords – where Belder is joined by Gerard de Wit – and composed in such a way that it can be performed backwards: an extraordinary feat of ingenuity. Playing both a modern copy of a Blanchet harpsichord and a clavichord modelled on a Friederici original, Belder intersperses canons within the sequence of fugues at strategic intervals. His extensive catalogue of Bach recordings has won international praise: here, for example is Fanfare’s verdict on his second recording of The Well-Tempered Clavier: ‘Tempos dance in more sprightly ways in the faster-paced preludes, and air between voices in the fugues assists the ear in appreciating Bach’s invention. Listen, for example to the sheer joyousness of the C?-Major Prelude and Fugue with its ornamental twists and turns… a fantastic Book II.’ ‘Belder’s Goldberg Variations is commendably humane and technically strongly competitive.’ (MusicWeb International). ‘Without bringing anything provocative into his interpretations, he dependably makes the listener comfortable and attentive. He draws attention not to himself but to the music. His imagination serves the composer. This new recording is quickly becoming one of my favorite interpretations of the Goldberg Variations.’ (American Record Guide). Belder’s new account of The Art of Fugue sets the seal on a distinguished catalogue of Bach recordings made over the course of 20 years.