Search - Johann Sebastian Bach, George Frederick Handel, Antonio Soler :: Igor Kipnis Solo Recordings 1962

Foreshadowing a Great Career

Harpsichord Fan | 01/08/2003

(4 out of 5 stars)

"In all honesty, don't get me wrong about Igor Kipnis. Now I know that I wrote a pretty devastating review of his Bach French Overture and Goldberg Variations, but I actually have a great deal of respect for him as a harpsichordist and musician, and admire him for his independently-minded interpretations. It's just that I think that he had the potential to do better. Of the Bach pieces, the best are the latter two, namely the Prelude, Fugue, & Allegro in E-flat and the Toccata in e minor -- the French Suite just drags too much and is marred by the obnoxious action of the Rutkowski harpsichord used by Kipnis. As a side note, it's disappointing that he used harpsichords by Rutkowski so much - I think that they were perfectly horrid and wooden-sounding instruments, and that he would have been better off at least with a Neupert or Sperrhake (it was 1962, folks - either these or Pleyels). There are some particularly beautiful moments offered by Kipnis in the Toccata, and his declamation of the Fugue in the E-flat piece is astounding, even if the registration is somewhat off the wall. The Haendel Suite is more or less ordinary, although Kipnis' improvised ornamentation is astounding, particularly in the "Harmonious Blacksmith" section of the piece. I wish that other harpsichordists would take his lead and not be so dull sometimes.The Soler Fandango and Dussek programme piece are real gems in the album. I've only heard one other interpretation of the Fandango (Andreas Staier - hate it), and Kipnis far surpasses others in this piece, building up in tension and giving enough flavour to make the listener forget that the piece is, harmonically speaking, essentially a Passacaglia. The Dussek piece is fascinating because it is just so funny. My roommate and I regularly put this piece on the stereo and just laugh at its syrup-dripping sentimentality on the "sufferings" of Marie Antoinette of France -- the bravura of "They pronounce the sentence of death," the hilariousness of "They separate her from her children," the diminished sevenths in "The Apotheosis." And yet, Igor Kipnis really pulls it off quite well, and makes it convincing. About a year ago, Igor Kipnis passed away, and I would like to take the space to honor this harpsichordist, who taught us all how to breathe and live music. Although I never got to see him live, I respect Igor's passion for his art, and his dedication to sharing it with everyone, something which other classical musicians would do well to learn from. Bravo, Igor."

Igor Kipnis: Brilliant, as ever!

Calimerio Soares | Uberlandia, BRAZIL | 06/04/2000

(5 out of 5 stars)

"It is always benefic when one can listen to a past recording and find a superb interpretation! The programme includes works by Johann Sebastian BACH (French Suite No.6 in E Major, BWV 817; Fantasia in G Minor, BWV 917; Prelude, Fugue and Allegro in E-flat Major, BWV 998 and Toccata in E Minor, BWV 914), George Frideric HANDEL (Suite No.5 in E Major, Bk.1, HWV 430), Padre Antonio SOLER (Fandango in D Minor) and Jan Ladislav DUSSEK ('The Sufferings of The Queen of France Op. 23'). Although the correct and beautiful interpretation found on the pieces by Bach and Handel, two especial ones claimed my particular attention: the Soler's 'Fandango in D minor' and the Dussek's 'The Sufferings of The Queen of France, Op. 23', an interesting 'música programática' which I heard for the first time. Mr Kipnis brilliant technique on the harpsichord (together with a careful 'registration') gives to the listeners the composers real 'intention' captured from those particular compositions! It is a great pleasure to spend some time in listening to this wonderful recording. Calimerio Soares."