Topic: Bach: Well-Tempered Clavier

[(: premont :)]

I'm continually returning to Egarr's account of WTC book 2. It's making me love Book 2, whereas before I only respected it. I've never heard any Bach like Egarr's book 1 and 2. Incredible.

 

Egarr´s recording of Book I turned me off his Bach, and I have not acquired his Book II. I find his Book I sleepy and underarticulated.  Is his Book II that different?

[Leo K.]

Egarr´s recording of Book I turned me off his Bach, and I have not acquired his Book II. I find his Book I sleepy and underarticulated.  Is his Book II that different?

His Book 2 is in the same style, so you probably wouldn't want it.  Egarr's "cantabile heaven" is all over it. In my opinion it fits book 2 rather well, perhaps better than book 1. Perhaps.

 

[Bulldog]

His Book 2 is in the same style, so you probably wouldn't want it.  Egarr's "cantabile heaven" is all over it. In my opinion it fits book 2 rather well, perhaps better than book 1. Perhaps.

 

While "cantabile heaven" is a nice place to visit now and then, it gets a little tiring when his interpretations lack some drama, incisiveness and excitement.

For about a year now, I've been playing the WTC's from Egarr, Dantone and Ashkenazy non-stop in my vehicle (my favored versions don't leave the house).  Each of the three has its pros and cons.  I really hate that the Dantone only has one track for each prelude/fugue combination; it's a major pain to simply listen to a particular fugue.

[Geo Dude]

I found Watchorn's WTC 1 (my first experience with the WTC 1) a bit heavy, but his WTC 2 is amazing.  I'll need to do some re-listening, of course, but I'm looking forward to seeing how Dantone's WTC 1 compares.

[Leo K.]

I found Watchorn's WTC 1 (my first experience with the WTC 1) a bit heavy, but his WTC 2 is amazing.  I'll need to do some re-listening, of course, but I'm looking forward to seeing how Dantone's WTC 1 compares.

I also find Watchorn's WTC 1 a little heavy, but I keep hearing how amazing his WTC 2 is, that may be my next purchase, the samples do sound good too.

[Geo Dude]

I also find Watchorn's WTC 1 a little heavy, but I keep hearing how amazing his WTC 2 is, that may be my next purchase, the samples do sound good too.

It seems we may have similar tastes, then.  In any case, I've only listened to one disc of the WTC 2 thus far, but it has been jaw-dropping.  I will also say that my concern with dragging tempos and ponderousness which resulted from the fact that it's a three disc set has been proven false.  He hits the fast lane when he feels it's necessary.

[Bulldog]

I just read a Fanfare review of Bach's WTC performed by harpsichordist Edith Picht-Axenfeld.  The reviewer is Christopher Brodersen, and the following comment struck me as pretty stupid:

"I'm always a bit puzzled why harpsichordists should choose to record this music, since (a) there are already a gazillion versions in the catalog, and (b) Bach probably never intended his pedagogical monument for public performance in the first place."

Seems reasonable to me that harpsichordists love to record the WTC because it's the greatest solo harpsichord music ever composed.

[karlhenning]

You're right, Don: Broderson's remark is indefensibly stupid.

[Geo Dude]

Upon reading that comment I immediately have to wonder if the reviewer feels that pianists shouldn't bother recording it, either.  After all, there are far more piano recordings out there than harpsichord recordings.  Forgive me if I presume too much here, but something about that statement causes me to read it as 'I don't like harpsichord recordings.'

[Bulldog]

Upon reading that comment I immediately have to wonder if the reviewer feels that pianists shouldn't bother recording it, either.  After all, there are far more piano recordings out there than harpsichord recordings.  Forgive me if I presume too much here, but something about that statement causes me to read it as 'I don't like harpsichord recordings.'

I was thinking the same thing.  However, I read a few more Bach harpsichord reviews by Brodersen where that type of bias doesn't seem to exist.

So, I end up just feeling that he made a stupid comment that he'd probably like to take back (like the many that Mitt Romney has made).

[karlhenning]

(like the many that Mitt Romney has made).

And will continue to make . . . .

[milk]

Upon reading that comment I immediately have to wonder if the reviewer feels that pianists shouldn't bother recording it, either.  After all, there are far more piano recordings out there than harpsichord recordings.  Forgive me if I presume too much here, but something about that statement causes me to read it as 'I don't like harpsichord recordings.'

Maybe Brodersen only cares about middle-class harpsichordists.

[Jeffrey Smith]

Please be fair to Romney.  AFAIK, he's never said anything so superlatively stupid  as Brodersen's comment.

[Opus106]

I just read a Fanfare review of Bach's WTC performed by harpsichordist Edith Picht-Axenfeld.  The reviewer is Christopher Brodersen, and the following comment struck me as pretty stupid:

"I'm always a bit puzzled why harpsichordists should choose to record this music, since (a) there are already a gazillion versions in the catalog, and (b) Bach probably never intended his pedagogical monument for public performance in the first place."

Seems reasonable to me that harpsichordists love to record the WTC because it's the greatest solo harpsichord music ever composed.

Why did he choose to (or not opt out of trying) to review it is beyond me! Even if Bach did not intend this to be performed in the typical sense of the word, doesn't the fact that he [Mr. Broderson] is reviewing a performance lend some credence to the 'musicality' of the work? And if he denies this, then on what basis does he generally review the work?? 

[All right... I know, I know, this is all obvious, but I just had to get it out.  ]


P.S.: Please don't bring politics in here. Otherwise, I will tell on those who do to Uncle Que. 

[PaulSC]

I just read a Fanfare review of Bach's WTC performed by harpsichordist Edith Picht-Axenfeld.  The reviewer is Christopher Brodersen, and the following comment struck me as pretty stupid:

"I'm always a bit puzzled why harpsichordists should choose to record this music, since (a) there are already a gazillion versions in the catalog, and (b) Bach probably never intended his pedagogical monument for public performance in the first place."

Seems reasonable to me that harpsichordists love to record the WTC because it's the greatest solo harpsichord music ever composed.

Not to beat a dead horse, but is it really true that “there are already a gazillion versions in the catalog”? Maybe there are more than I realize, but I can't think of more than maybe a dozen WTC recordings on harpsichord that are still in production.

[Geo Dude]

Not to beat a dead horse, but is it really true that “there are already a gazillion versions in the catalog”? Maybe there are more than I realize, but I can't think of more than maybe a dozen WTC recordings on harpsichord that are still in production.

I'm guessing that the reviewer was speaking of a gazillion piano recordings.  That's the only semi-logical way one can interpret it, and it's still ridiculous.  Sure, there are many recordings of the WTC on a different instrument, so why would harpsichordists bother with it?

[Geo Dude]

Sorry, I don't have any update to offer.  However, I am very interested in Bk. 1 performed by Rebecca Pechefsky on the Quill Classics label.  Has anyone heard this set?

I listened to the first disc of this set earlier today.  Based on that preliminary listen, I would say it's very...relaxed.  Too much for my tastes.  Tempos are moderate to a fault.  The best way I can think of to put it is that it sounds like Egarr on depressants.

[Leo K.]

Has anyone heard Martin Stadtfeld? And what to they think?

[Coopmv]

Leonhardt's on ProArte.

Did Leonhardt actually record for Pro-Arte or is this some re-issue?

[Coopmv]

The back of the informative 12-page note-insert that came with the set states it was recorded June 1969, and that it is copyrighted by Deutsche-Harmonia Mundi, and licensed under agreement with them.

This issue is from 1981.

So the now defunct Pro-Arte was like BC.  I have Leonhardt's Goldberg Variations on Pro-Arte as well ...