Sergey Schepkin plays Bach Volume I (Johann Sebastian Bach)

Chronique

Sergey Schepkin has built his reputation mostly on his performances of the music of Bach. This is his second disc for the Northern Flowers label, based in his hometown of St. Petersburg, Russia. He previously recorded the complete Bach Well-Tempered Clavier, Goldberg Variations, and Partitas for Ongaku, all very well received by reviewers. Nothing is said in this disc's notes or on the Northern Flowers website, but one presumes that because this disc is designated "Volume 1" and the program is a mixture of Bach works that more will follow with similarly hand-picked pieces in interesting groupings. Here he's chosen the programmatic Capriccio on the Departure of His Most Beloved Brother, the Partita No. 6, and the Italian Concerto. They are three very different works in terms of form, but Schepkin makes work together by virtue of his extremely consistent technique and thorough knowledge of the pieces. Everything about his technique speaks directly and deliberately. His touch is solidly dependable and short, without being too rigid or crisp, so that there is a pleasant resonant quality to it, enhanced nicely by the resonance of the hall that isn't overly expansive. He also tends to keep tempos more strictly than most performers, even harpsichordists. The arpeggios at the opening of the Partita are played more theatrically in speed and volume by many pianists, but Schepkin's are just as effective and more likely truer to Bach's intentions. His rhythms and note values are kept appealingly clean and neat. What he uses to give the music more expressive color is dynamics. These are also controlled when compared to other pianists, even Angela Hewitt. Schepkin isn't trying to imitate period instruments or give the music a dramatic gilding. His contrasts between loud and soft are carefully placed, and his choices so naturally suit the music that the slightest bit more would seem vastly overindulgent. He brings thoughtfulness to the Partita and slow movements of the Capriccio and Concerto, and a great deal of brightness and joy to the latter two works. He is very adept at using the possibilities of his instrument without sacrificing the dimensions of Bach's ingenious writing.
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