Belgian harpsichordist Anne Galowich has played for some time in a duo with
Jos van Immerseel, and this Surround Sound Hybrid CD release from Turtle Records appears to be the first disc where Galowich is the center of attention. She appears solo in the C.P.E Bach Suite (called by him "Sonata") in E minor Wq. 62/12 on a Michel de Mayer rebuild of a 1716 Pierre Donzeleague instrument; is has a well-modulated and balanced sound that is warm and never jangly, although one wishes it were a bit louder in the recording. This is followed by the third movement variation set from Hugo Distler's Harpsichord Concerto, Op. 14, the section of the work that so offended National Socialist sensibilities that on first publication it was withheld from the score. It stands perfectly well on its own, and the orchestral ripieno is performed by
van Immerseel's top-drawer period orchestra
Anima Eterna, a rather unusual treatment given that the work is a modern one, dating from 1935. In her notes, Galowich defends her choice of performing only one movement from Distler's 40-minute concerto, perhaps the longest written for the harpsichord, as representative of a long-held European tradition of selecting single movements from works. No one disputes that, but it is still disappointing in that this is easily the finest performance of Distler's concerto on record, from a recording and performance standpoint, and it's a pity it is not complete.
The finale features the
van Immerseel/Galowich duo playing J.S. Bach's Concerti a due Cembali in its early version for two harpsichords only, numbered BWV 1061a. First of all, it's astounding that
van Immerseel and Galowich have found a Bach harpsichord concerto that hasn't been recorded a gazillion times already, and this is in keeping with Turtle Records' stated purpose to record music that needs to be recorded. Moreover, it is a very fine performance indeed, with both harpsichords captured beautifully within the Surround Sound ambiance. The only real drawback is the C.P.E Bach suite that opens the disc; not only is it recorded a little too low in relation to the rest of the music, Galowich's interpretation is a little too reserved and straightforward; Bach son No. 2 demands a bit more emotional involvement, whereas here Galowich is a bit too detached. Two out of three ain't bad, especially for a recording artist debut, and both the Distler and elder Bach come off with spirit and aplomb in these recordings.