The Art of Fugue

[Mandryka]

It sounds to me as though all the fugues are played by two people, two harpsichords. Presumably he needed it because of all the ornamentation. The effect is quite unique and well worth hearing - very different vibe from Asperen's. Koopman and Mahot are exuberant, virtuoso display.

[premont]

It sounds to me as though all the fugues are played by two people, two harpsichords. Presumably he needed it because of all the ornamentation. The effect is quite unique and well worth hearing - very different vibe from Asperen's. Koopman and Mahot are exuberant, virtuoso display.

Yes, Koopman plays the canons and the cpt. VIII (which is a piece for three voices) solo. All the pieces for four voices are played by Koopman and Mathot on two harpsichords, each of them playing two voices on each harpsichord. I haven't heard it for ages, but recall it as being relatively solid and sober.

[Mandryka]

Yes, Koopman plays the canons and the cpt. VIII (which is a piece for three voices) solo. All the pieces for four voices are played by Koopman and Mathot on two harpsichords, each of them playing two voices on each harpsichord. I haven't heard it for ages, but recall it as being relatively solid and sober.

It's interesting because when I listened to it last night I looked for reviews on the web and of course found Don Satz. And he said things like "Koopman can't express joy." And yet my response was that it's the really exuberant AoF! And here's you saying it's sober.

Subjectivity everywhere!

I listened to Koopman's Forqueray too - astonishing performances. I thought that he makes the music sound like a baroque counterpart to those 19th century virtuoso concert etudes we never listen to - Liszt's transcendental etudes, things like that. I mean, I don't I want to hear it often, but what Koopman does there is kind of, unforgettable!

[premont]

It's interesting because when I listened to it last night I looked for reviews on the web and of course found Don Satz. And he said things like "Koopman can't express joy." And yet my response was that it's the really exuberant AoF! And here's you saying it's sober.

Subjectivity everywhere!

I listened to Koopman's Forqueray too - astonishing performances. I thought that he makes the music sound like a baroque counterpart to those 19th century virtuoso concert etudes we never listen to - Liszt's transcendental etudes, things like that. I mean, I don't I want to hear it often, but what Koopman does there is kind of, unforgettable!

But I wrote relatively solid and sober, thinking of Koopman's usual habit to overembellish the music. Should have written relatively sober and solid.

His Forqueray on the other hand I find a bit heavy handed but maybe this makes this music more weighty and substantial.

[milk]

It's a good time for me to go through AOF, to go back through it. It's been a while. The Koopman version is kinetic but the embellishments do tend to distract me. I'm turning to Vartolo now for something very different. He relies on rubato and sometimes the dynamics he gets from the manuals of the instrument he's got. I don't know what it is. Vartolo is gutsy and emotive I think. Whatever it is that mainstream pianists find in Koroliov, I could find in Vartolo. He doesn't play safe, if that's what it is.

[Atriod]

Thoughts on this? A while back I posted about being greatly captivated by Weiss' recording of WTC.

[milk]

My interest in piano versions of the Art of Fugue is relatively small. Despite this I own 35+ piano versions. My preference is towards informed and not too interventionist performers. Some who don't fall victim to the romantic potential of the piano. So some of my favorites are (in casual order):

Hans Petermandl
Walter Riemer
Ron Lepinat
Geoffrey Douglas Madge
Ivo Janssen
Risto Lauriala
Celimene Daudet
Ann-Helena Schlüter

There's a lot to like in Daudet. The recording is very detailed also, meticulous. Some might not like how it's recorded. I appreciate it though. She's another one who doesn't overdo the pianism. I feel like I'm listening to a perfectionist.

[Mandryka]

Thoughts on this? A while back I posted about being greatly captivated by Weiss' recording of WTC.

Sensible HIP.

Good in contrario motu!

I'm not myself convinced he makes it sound alive and fresh and poetic, especially in the dense, fast complicated music.  To me he sounds as though he's trying to stay on meticulously prepared rails.

Interesting organologically,  a nice newly restored previously unrecorded Taskin.

(Sorry, I'm in a mood obviously! Not feeling very generous today.)