This evening, St Paul’s Episcopal Cathedral in Dundee was the venue for an all Bach recital by Joseph Fleetwood, who had played these Bach Partitas here over three lunchtime programmes along with pieces by Brahms and Schumann almost a decade ago. This however was a different occasion, the playing being on a different level altogether: an atmosphere of near reverential concentration was attained in this spacious auditorium which adequately reflected the cathedral like nature of the composer’s mind.Also, the dimmed lighting was very helpful in creating a listening environment.
This was convincing Bach playing, allowing the music to speak for itself. Busoni claimed Bach as the foundation of piano, Liszt as the summit, the combination of them making Beethoven possible: Mr Fleetwood is well acquainted with these other composers as was evident in the rich but discreetly classical tones he was able to bring from a piano which I’ve sometimes felt a bit lacking in the bass/tenor area and a bit bright in the treble.
After a strong 1st Partita, the compelling C minor of the second suggested this would be a good evening. Indeed, if there was any shortcoming the interval was perhaps a little too long, allowing the atmosphere attained during the first three Partitas to begin to dissipate: the Overture starting the 4th in D major could have been more reminiscent of the festive BWV532 in the same key, or the second half of the Goldbergs. By no 5 everything was well back on track and the final E minor had some of the most powerful playing of the evening: the concluding Gigue has a finality akin to the B minor fugue at the end of Book One of the 48.
At uncertain times like these, foundational figures such as Bach and Shakespeare are a necessity: it’s a shame Dundee couldn’t muster a larger audience to appreciate this offering. Something needs to be done about publicizing events across the various venues in town. Fortunately, this event was a byproduct of a recording project which deserves to reach the ears of many more.
I look forward to hearing the pianist return to these pieces in the 2020s and even beyond.