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Reviewer: Bradley
Lehmann
It’s music to bring a smile
and tapping toes. Hantai plays 17 sonatas here: Kirkpatrick numbers 212,
247, 144, 133, 204a, 279, 533, 405, 402, 403, 381, 208, 456, 457, 302, 201,
and 45. The booklet does not explain why he plays K 247 a semitone higher
than its usual key. There are three earlier volumes of this series for
Mirare, which I have not heard, but I have Hantai’s much older Astrée
recording of 22 sonatas (1992). This new “Volume 4” makes me want to catch
up, and the boxed set reissuing volumes 1-3 (“50 Sonatas for Harpsichord”)
makes it easy to do that. Hantai keeps tempos basically steady, filling the
space with small expressive nuances on top of a “hot” touch where he plays
the notes very short. It makes the music sound energetic. I can listen to
only about half an hour of these at a time, as they leave me feeling
caffeinated in these performances. The slow sonatas are a welcome relief
from the bristling drive and are invested with details that hold the
attention. Hantai is never dull. I went through A-B comparisons in the four
sonatas that are remakes from the Astrée album (K 144, 204a, 208, and 456).
His Italianstyled harpsichord on Astrée has its charms, but his playing now
is much more imaginative and richly layered. The rhythms and ornamentation
are freer, and Hantai projects more intensity in lightly slower tempos. The
harpsichord here is a German-styled double from 2004, built by Jonte Knif.
Nickolai Sheikov’s recent disc on Musica Omnia is another one I have
enjoyed, with great sound and a brisk interpretive approach similar to
Hantai’s (S/O 2015). For a wilder ride to knock yourself off any seat, try
the three
CDs by
Enrico Baiano on Symphonia and Stradivarius. It’s tremendously exciting with
Baiano’s extreme bending of tempos, probing every nuance of Scarlatti’s
compositions. | ||||
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