Alard has a gift for bridging opposing aspects of Bach’s music, and this ran through every aspect of the program, performed Tuesday in Pacific Beach
It can be argued that a perfect music performance is, to a degree, invisible: a spotless, uncolored window revealing the intentions of the composer. On the other hand, interpretation — a performer’s engaged, personal approach to a work — is precisely what keeps old music new and fresh and alive.
A widely admired Bach specialist, Alard is several years into the monumental project of recording all of Bach’s solo keyboard music. The stock of music under his grasp is deep: Two nights earlier, he performed the entire first book of “The Well-tempered Clavier” on harpsichord, 48 pieces in all, and Tuesday’s concert was two solid hours of dense music, all of it superbly and sympathetically played.
His treatment of the chorale preludes emphasized the quality of improvisation that runs through Baroque music in general, and Bach’s work in particular. It’s often noted that Bach was famous during his life more as a performer than as a composer; his gift for improvising imitative counterpoint of superlative complexity was what his reputation rested upon.
The organ trio sonatas, or “Sonatas for Two Keyboards and Pedal,” are generally understood to be instructional pieces written for the tutelage of Bach’s son, Wilhelm Friedemann. Despite their didactic nature, these are works of thrilling diversity, encompassing numerous musical styles of the day. Though Bach never left his native Germany, he was a connoisseur of current musical trends, and in the 18 movements contained in the six sonatas, not a single texture or emotion duplicates another.
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