Awadagin Pratt, pianist
St. Lawrence String Quartet
augmented with flute and string bass
PLAY BACH

Brandenburg Concerto No. 5 in D Major, BWV 1050
Keyboard Concerto No. 4 in A Major, BWV 1055
Keyboard Concerto No. 3 in F Minor, BWV 1056
Chorale Prelude: "Wachet Auf, Ruft Uns Die Stimme"
The Art of the Fugue, BWV 1080/1--Contrapunctus No. 1

EMI Records, 57227, DDD, Time: 55:45
Gilbert Hetherwick, Executive Producer
Elizabeth Ostrow, Recording Producer
 

It was my good fortune to prepare Awadagin Pratt's piano on two occasions for performances of Camille Saint-Saens' second piano concerto when he performed with the Binghamton [NY] Philharmonic Orchestra under John Covelli's direction. It was the first time in more than 40 years of concert piano preparatory work that I had encountered a pianist whose dress code was completely opposite the norm, not to mention a pianist who sported quite a head of dreadlocks! What a warm and cordial artist I discovered, not to mention the superb artistry he presented to obviously enraptured audiences. When he plays, Pratt hunches over his keyboard, totally engrossed in the music, seemingly quite oblivious to all surroundings. Awadagin Pratt is an intense artist.

Here's a pianist we must watch closely. He has something to say. Recording exclusively for EMI, Pratt has five impressive discs to his credit offering a wide array of music that is highly individual in its presentation yet true to the composer and the printed page. Now comes his latest release, an all-Bach recording.

We think of the Brandenburg Concertos and the keyboard concertos with the full complement of supporting orchestral members. Here, we are given performances with a highly reduced staff of string quartet, flute and bass, in other words, a "chamber music" conception. The recording's presence, nonetheless, gives the listener a much broader and larger sound than one might expect. Bach's Brandenburg No. 5 is given a sprightly performance, with the piano retaining its position as backbone of the work in the chamber-like setting. Special mention must be made of the sweetness of tone of flutist Demarre McGill and Mr. Pratt's flawless keyboard technique.

Given the sudden interest in Bach's keyboard concertos of late, by such pianists as Murray Perahia, the two concertos presented here offer Mr. Pratt a chance to display his keyboard prowess with color and an especially beautiful tone quality. I believe Mr. Pratt continues to be a Kawai piano artist, however, the tonal properties of the instrument here makes me believe this is another brand. It's tonal charateristics harken back the days of Schnabel, Fischer, and the like, i.e., sweet, singing tone without stridency. Pratt's musical sensitivities and command of his keyboard in offering this rich array of expression gives special merit to this recording.

The chorale, Wachet Auf is rendered with string quartet while the prelude (after Busoni) is rendered as a piano solo. The disc concludes with the Contrapuctus No. 1 from The Art of the Fugue. In both these solos, Awadagin Pratt's effects a warm and deep, truly religious quality in these pieces.

I have nary a quibble with this release and would hope that EMI may see fit to release the additional keyboard concertos with Awadagin Pratt and this ensemble. Indeed, these performances may well inspire smaller musical ensembles to perform larger works of Bach in a similar manner. It was not uncommon in Bach's day to perform music such as we find on this disc with the same kind of instrumentation. Additionally, as liner annotator David foil has noted: "the clarity of these chamber-music textures only magnifies the splendor of Bach's contrapuntal writing."

Sound quality and balances are exceptionally fine.

Lance G. Hill