Sunday, April 15, 2018, L’Église Française du Saint Esprit
It was purely by chance that I learned about Bach at One. In March 2011 I was having lunch with a friend whom I hadn’t seen in months. He sang in the Trinity Wall Street choir, and I asked him what was new.
“Oh, Julian’s doing the cantatas next week.”
“Julian Wachner. He’s the new music director.”
“Ah. Whose cantatas?”
“Really? Which ones?”
“ALL OF THEM.”
Around 1973 my first lute teacher, Frank Eyler, lent me Wilfrid Mellers’s classic study on François Couperin, whose music was then entering my life. ...About the same time, I bought the Vox Box of Couperin harpsichord suites performed by Alan Curtis—six long-playing sides that I listened to again and again, returning most frequently to the Huitième Ordre in B minor (1717). As it happens, Mellers singled out the Huitième for special praise: it was, he wrote, “almost uniformly serious, even tragic ... a good case can be made out for the eighth as the greatest individual ordre.” So it was with great joy that my wife, Rebecca Pechefsky, and I embarked on our latest project back in January: a video of the entire suite, played on a French double-manual instrument built by Yves Beaupré in 2010 that we purchased, at least in part, with a view to recording this work. Read on and enjoy the video here...
Bach’s Goldberg Variations was published in Nuremberg in 1741 with the dryly descriptive title “Aria with assorted variations for a harpsichord with two manuals.” It was one of those rare works that Bach actually took the time and trouble to publish, and the work evidently represented an achievement that, as he entered what would be his final decade, he was determined to preserve for posterity.