By Alan G. Artner
Once upon a time, pioneers of historically informed performance made all sorts of proclamations about the "rightness" of their mission.
In recent years those were overtaken by a stronger sort of correctitude, coming from a union of scholarship, virtuosity and feeling that convinced without dogmatic utterance.
Kristian Bezuidenhout's fortepiano recital Friday night at the Reva and David Logan Center for the Arts in Chicago had that kind of rightness. Even though it represented but a single way of playing the music of Wolfgang Amadeus Mozart and Carl Philipp Emanuel Bach, for two hours it easily made the case that it was the only way.
The fortepiano is a small, delicately made ancestor of the modern piano. Its tone is soft, intimate, varied and, particularly in the bass register, extremely clear. Mozart wrote his keyboard music for the fortepiano. C.P.E. Bach composed for harpsichord, clavichord and fortepiano.