André Isoir invariably steeped himself at length in the literary and spiritual content of Bach’s chorales to ensure he found the best way to convey it in music. His deeply considered views on this led him to organise the programme of each disc on the basis not of the printed edition of the music, but of a specific spiritual theme or the ordering of the liturgical year. For each work (chorale, prelude and fugue, concerto, sonata) he came up with an idea, a completely personal ‘slant’, whether in the phrasing, the registration, or the fingering. With him, tempo, timbre, and articulation go hand in hand. In concert, especially, he never hesitated to ornament the texts. Throughout his career, he would gauge the audience’s level of attention. If he thought it was wandering, he would revive interest by improvising a few decorations to liven up the discourse! For, even if he is discreet about it, he is a remarkable improviser . . . and composer. He never plays for himself; his playing is always about exchanging, sharing. What does he dread most? Being boring! And there we put our finger on one of the essential characteristics of his Bach set. Each piece leaps out at us, radiating exhilarating polyphonic clarity. The vigour of the tempi is not the only explanation, however. Flexibility of phrasing, perfect clarity of touch, and imaginative registration also unquestionably contribute to his success. 37 ANDRÉ ISOIR
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