Kipnis

Since you can find plenty of excellent single-disc harpsichord Goldbergs with all repeats, why even consider this recording? For the simple reason that Kipnis offers one of the most technically accomplished, individualistic, and deeply musical recordings of the Goldberg Variations ever made–that’s why! You’ll have to search far and wide to find Goldbergs so brilliantly thought out yet seemingly spontaneous, so stylistically sound yet utterly unacademic, so unpredictable in detail yet profoundly true to the composer’s spirit.

Following its release of Bach’s Third, Fifth, and Sixth Keyboard Partitas, Seraphim brings out the remainder of Igor Kipnis’ superb cycle from the 1970s. As it happens, Partitas 1, 2, and 4 are my favorites of the six. Kipnis reveals their distinct structural and emotional profiles with interpretations that often take you by surprise, yet invariably prove convincing. Many keyboard practitioners play the introduction to the D major Partita’s overture with frills and freedom, and impart a steady drive to the main section.

If you want a representative sample of Igor Kipnis’ Bach, start with the introductory toccata to the E minor Partita (No. 6). You get little of the music’s introspective undertones, but Kipnis’ subtle registration changes, resourceful ornamentation, and rhythmic extroversion proves quite insidious. Some of Kipnis’ textual emendations will surprise you, such as his duple-meter reading of the Fifth Partita’s Allemanda. Only on the repeats does Kipnis reinstate the middle notes of the right hand triplet groupings.

This is a wonderful collection of Spanish Baroque harpsichord music. Of course Scarlatti, who came from Italy, is the king. Igor Kipnis plays one of Scarlatti's single sonatas and the great triptych, K. 490- 92. He gives an object lesson in performing Scarlatti with imagination, virtuosity, taste, and ornamented repeats, the latter adding a great deal of interest to the music. José Nebra and Josep Soler aren't quite on Scarlatti's level, but the way Igor Kipnis plays their entertaining music is bound to hold your attention.

This is the best playing of Bach keyboard music on original instruments in the catalog. The way Igor Kipnis plays the English Suite is easily worth the price of the disc, as he gives every movement a character of its own, thrills us with his virtuosity, and displays his imagination with his embellished repeats. The Italian Concerto doesn't offer the same opportunities for repeats, but Kipnis still gives us imagination and great sensitivity. The remaining pieces are played on the soft-voiced clavichord, an instrument that normally can't be heard across a small room. Don't turn the volume up, just save this music for late nights in the country and let it whisper to you.

As with several other of Kipnis' albums, these could serve as either an eye opener for those uninitiated to the potential of the late 20th century harpsichord in the hands of these virtuoso musicians. And an introduction of the incredibly rich, varied music of the 18th Century. Igor Kipnis was so much more than a master of the keyboard, he helped introduce three generations to what the Baroque was all about.

Since his debut in 1959, harpsichordist and fortepianist Igor Kipnis has performed in recital and as soloist with orchestras throughout the world, including North and South America, Western Europe, East Germany, the Soviet Union, Czechoslovakia, Poland, Israel, the Far East, and Australia. He is a prolific recording artist with 81 albums to his credit, of which 55 are solo. Among the honors he has received are 6 'Grammy' Nominations, 3 'Record of the Year' Awards from Stereo Review , the 1969 Deutsche Schallplatten Prize, and the 1988 Gold Star award from the Italian periodical, Musica .

This album is likely to make you catch your breath on first hearing. Here is a harpsichord player in full virtuosic flight, just as we imagine Handel to have been (who was after all one of the great performers of his day and prevailed in a contest with Domenico Scarlatti).

Electric guitarist Joel Kipnis – or JK, as the smooth jazz world will know him – is an amazingly unselfish musician, not only including his keyboardist Dinky Bingham and featured vocalist Robyn Springer on the back cover of his Verve Forecast debut What's the Word, but deferring lead parts and solos to them as well as other bandmembers more often than not throughout the disc. Kipnis will establish a theme, then kick around in the background while Bingham sprouts a frenetic bluesy organ solo, Scott Kreitzer sparks some fancy improvisations on sax, and Jim Hynes eases in on trumpet, all in rapid succession. The tag eaming bears the most fruit on the funkiest cut "In the Pocket," where Bingham bubbles under JK's slick lines while Hynes waits for an open door to chime in a measure or two. While JK isn't always the one who stands out most on each cut, give him credit for aiming for solid ensemble vibes The few full-on instrumentals are a blast.