Evan Shinners Artist Statement

Evan Shinners Complete Bach Keyboard Works Talking with Jon Batiste JB: Why Bach?

ES: [Laughs.] I can’t answer that in any quick witty way. If I had to do that I might as well respond, “why breathe?” You just have to do some things, you know?

Then what else besides Bach?

Right, exactly. People do ask if I play only Bach. The Bach obsession began with one year. I wanted to go deep into one composer— one composer only— for a year. My choices were Bach, Chopin or Messiaen. People seemed to react negatively about Chopin— I don’t know why. As for Messiaen, it was sort of feared that I might become insane, or understand him better after a year of Bach.

Finally, it was David Dubal who told me that it’s possible to build a career on Bach, as long as you supplement him with Chopin in your free time. So that’s what I do. But that ‘one year’ was over fifteen years ago.

How did these recordings start?

I should mention that in the last few years I experienced quite a few dramatic changes in my life. I moved to Europe on a whim in the middle of the pandemic, my father tragically died, and I met my wife— that all happened within 18 months. I still really can’t believe how quickly my life changed.

But it’s events like that which make you ask, “okay, what am I doing. What am I all about.”

What is your answer?

I want to make an archive of my playing if not for anyone but myself, just so— should I be so lucky — I could sit back someday, look at them lined up on a shelf, and say, “I did that with my life. I recorded the complete keyboard works of J.S. Bach.”

Why does one need completion?

Well the word ‘complete’ is a misleading word. A few years ago I released the so-called complete fantasies, only to discover that Bach has these other ‘fantasies’ in ‘partimento’. They don’t have BWV numbers, but they definitely should be counted among the other fantasies. I know more things will happen like that. Bach knowledge is, well, science, always evolving. I’m in the lucky position to make a more ‘complete’ set than any one from the past because of modern scholarship, but I’m sure after I say, “there, it’s done.” more music will be discovered, or sanctioned as ‘authentic,’ but at the moment, I’m embarking on a project that ticks more boxes than any other.

Tell me about the instruments.

In the Baroque, there was no such thing as a harpsichordist, or organist. They were keyboard players. Lines were not drawn as to what instrument went with what piece. There are only a few pieces that call for a specific instrument. Now, many pieces indicate what instrument the piece was probably written for. That’s within the language: you see a particular figure that evokes the style of

playing unique to one instrument. And I do not agree with those who say, “if Bach knew there were pianos, he’d never have played the harpsichord.” That’s ignorance of the individual styles. He did know pianos. He sold them, he wrote for them. But, here’s the point, what would a musician do if the ‘right’ instrument weren’t available? They’d adapt! Baroque musicians were interested in the capabilities, how instruments could be stretched and pushed to capture the music better. The instruments were invented to capture the spirit of certain pieces— not the other way around! It’s important we understand that. Once you arrive at a piano and say, “this is a perfectly fine vehicle to capture the entire Bach oeuvre,” you’ve lost the Baroque spirit. That’s why I’ve got pianos tuned differently, that’s why I have invented this modern Lute-Harpsichord-Guitar sound, that’s why there are clavichord recordings, organ recordings… I want to continue pushing the instruments. Of course, there is plenty ‘grand piano in 440 equal temperament,’ but it’s not the majority of the project. This project is about recapturing the spirit of Baroque keyboard playing, in the modern era.

Anything with a keyboard, old or new makes it on. The repertoire reflects this as well.

Okay, so tell me about the choice of repertoire.

It’s the same idea. Why pianists record the ‘four duets,’ but nothing of the other two hours of music also written for organ without pedals, well, that’s just a matter of bad scholarship. I’m certain modern scholarship will sort that out. I’m here to help that along. You’ll also notice the great pianists never recorded any of the ‘lute’ works, whereas they were almost standard for harpsichordists. Again, the divide was real. I’m trying to heal it.

Tell me about W.T.F. Bach.

Maybe some other time.