Music Reviews : Pianist Edward Aldwell Performs Bach Program

For pianist Edward Aldwell the keyboard works of Bach have been a lifetime devotion. He has studied, taught, performed and recorded the music with apparently unmitigated enthusiasm. His Bach recital--Thursday night at Cal State Los Angeles as part of the List-Glenn Institute series--proved, through remarkably communicative and authoritative performances, that this encyclopedic knowledge is all to the good.

Aldwell began with the “English” Suite in G Minor, from note one a marvel of expressiveness. His subtle use of rubato actually gave the music strong forward impulse, large expanses connecting in a single arch. He delivered the saraband with unabashed pathos, at times richly extroverted, then in spare, stark contrast. The gigue had toe-tapping buoyancy.

He followed with nine preludes and fugues from Book 1 of “The Well-Tempered Clavier.” To the preludes he brought a startling sense of their improvisatory nature, with sudden tempo changes, dynamic shifts and color variation. The fugues became studies in continuity, unfolding in slow-motion detail, flowering into majestic climaxes. He maintained a level of intense concentration throughout.

The “Italian” Concerto closed the program. Here, the singing quality of Aldwell’s phrasing, evident in parts of what had preceded, came to full fruition. The outer movements overflowed with good-natured lyricism; the adagio developed on two levels simultaneously: the bass lines going quietly, steadily on their way, the melody pliantly, ringingly filigreed overhead. As throughout the program, Aldwell’s intimate knowledge of, and deep affection for, the music shone clearly.