Bach Six Partitas

[Luke]

By comparison, Keith Jarrett's classical recordings don't seem particularly flexible or jazzy. Perhaps jazz pianists play classics to feel comfortable within a strict framework.

...though he does throw a few improvised flourishes in at appropriate places such as the slow movement of K488, which I think reflects his roots.

[AnotherSpin]

...though he does throw a few improvised flourishes in at appropriate places such as the slow movement of K488, which I think reflects his roots.

As many do in Mozart concertos. Have you listened to his Bach? The Goldberg Var., the French Suites, the WTC?

[Luke]

As many do in Mozart concertos.

Not saying they don't. But he's one that chooses to do so - and though they are small moments, I think you can hear that they are born of an overflow of expressive imperative and not just for scholarly reasons.

Have you listened to his Bach? The Goldberg Var., the French Suites, the WTC?

Sure, and in other composers too. I recognise what you are saying, but I do hear individuality and occasional impulsiveness there too.

[Mandryka]

I've known the performance for ages but I've only just found this video.

Jarrett wonderfully dancing before he starts to play in the rondo

[Mandryka]

WTF! Bach's keyboard music is nowadays still mostly played on anachronistic instruments.

Anachronistic or not, I think Helmchen has made a lovely recording!

[AnotherSpin]

Not saying they don't. But he's one that chooses to do so - and though they are small moments, I think you can hear that they are born of an overflow of expressive imperative and not just for scholarly reasons.

Sure, and in other composers too. I recognise what you are saying, but I do hear individuality and occasional impulsiveness there too.

Starting in the mid 70's I listened to an immense amount of Jarrett's albums. He was one of very few of my favourite musicians. It was solo improvisations like Köln Concerto, etc. and jazz line-ups like My Song or Byablue. I had dozens of his albums, more than of any other artist in any genre. When his performances of "serious" music started to appear, I was not a bit surprised. His interpretations bore little resemblance to the Jarrett I knew and loved. The complete, unrestricted freedom of his solo albums had been replaced by the rigid confines of composed music. My initial impressions of his Bach, Händel or Mozart were not particularly favourable, and it was only with time that I got used to a different Jarrett.