Edouard Ferlet – Think Bach (2012)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:04:42 minutes | 978 MB | Genre: Jazz
Jazz, Piano solo | Official Digital Download – Source: Qobuz | Digital Booklet | @ MELISSE
How could one deconstruct Bach’s music when this opus has had such a structuring effect? How could one subvert a tribute to the organist of Leipzig and not bow before the “old wig”, as Busoni liked to call him endearingly? In short, how today variate Bach without turning the master into a kitsch cantor? In much the same way is there a significant nuance between laughing at and laughing with, Edouard Ferlet offers to play with Bach rather than merely play Bach; and because to play is to do hence we stand at the core of a poetical process. A process by which the pianist “recomposes” both substracting and enhancing: a few notes are extracted here and there from a prelude’s voices whereas elsewhere some are luckily added without ever being reduced to simple ornaments. By no doubt the German composer would have approved a piano thus enhanced with such delicate sounds – as we know he had a preference for the clavicord’s softness.
So by digging between the folds of the score – preserving its visionary archeology – the pianist deciphers the cryptic soundscapes hidden behind the sheet music much alike a Middle-Age copyist scraping off an ancient parchment with the palimpsest technique and layering fresh material over it. A lot has already been said about Bach’s art of fractal combination with its infinite serpentine structures reminding the Möbius ribons in Escher’s virtuoso paintings – but maybe Bach’s polyphonic exquisite cadaver becomes fathomable only when meeting improvisation again. Though we have variations within variations reflecting the idea of infinity – the pianist has made use of the same mirror method devised by Bach – the difference within the repetition springs out of improvised music itself hence recovering a sense of desequilibrium so specific to the Baroque period.
Edouard Ferlet’s poetic stand finds its place within the constant tension between replication and invention by which Bach’s opus would somehow be the promise as well as the trick and whereby the pianist delivers what in sleight of hand one calls the prestige.
01 – Analecta (Prélude en ré majeur du clavier bien tempéré BWV850)
02 – Dictame (Prélude en la mineur du clavier bien tempéré BWV889)
03 – A la suite de Jean (Prélude le suite pour violoncelle BWV1007)
04 – Verso (Prélude en do mineur du clavier bien tempéré BWV847)
05 – Lisière (Prélude en do mineur pour luth BWV999)
06 – Souffle magnétique (Suite française n°4 en mi bémol majeur pour clavier BWV815)
07 – Que ma tristesse demeure (choral de la cantate Jésus que ma joie demeure BWV147)
08 – Lapsus (Prélude en ré mineur du clavier bien tempéré BWV851)
09 – Diagonale (Variation de Goldberg n°25 BWV988)
10 – Réplique (Prélude en ré bémol majeur du clavier bien tempéré BWV848)
11 – Agnus Dei (Bonus)
12 – Air on the G String (Bonus)
13 – Erbarme dich, mein Gott (Bonus)