![]() Here, the pianist again arches the long phrases, creating a plaintive singing quality. The next canon (Variation 15) marks the arrival of the minor variation. He reveals a tangible connection between the treble and inner voices in Variation 12 (the canon at the 4th) I liked how the fluid yet dynamic shifts in character between the two give way to an engaging dialogue. ![]() The efforts are clear in how he demonstrates a firm grasp on how Bach’s contrapuntal lines work in relation to each other. ![]() In his forward, Say mentions the extent to which he studied the work outside of actually playing it. Variation 5, however, is successful what I picked up on in particular was how Say lends orchestral qualities to different registers: the higher notes have a spritzy, even piquant sound reminiscent of a piccolo. The tone quality is admittedly beautiful – round and mellow – but what suits better is a more robust sound profile (Murray Perahia’s 2000 recording has exactly this the rhythmic accents are present but not overdone, providing the energetic lilt central to the variation). There are times, however, when the refined approach detracts from a more vibrant interpretation, as we hear in Variation 4. ![]()
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