5 favorite Well Tempered Clavier recordings and why

[milk]

I have the same reaction to Watchorn.
I have not heard all of Suzuki, but what I have heard impresses.

I love everything Suzuki does. I've seen him perform. His WTC is wonderful. I wonder though, how to compare him to someone like Leonhardt.
People love Watchorn. I've tried for years to connect with it. I'm sure some of it is good?

[Ken B]

I love everything Suzuki does. I've seen him perform. His WTC is wonderful. I wonder though, how to compare him to someone like Leonhardt.
People love Watchorn. I've tried for years to connect with it. I'm sure some of it is good?

I have only one book by Watchorn. I am sure the other one is wonderful and I don't know what I am missing.

[Mandryka]

Watchorn is spacious, strong, granitic. That's what people said about Klemperer's Brahms, Mahler, Bruckner, Beethoven etc . Watchorn 872 is very much in the spirit of Klemperer's Mahler 7.

Strange, it's one thing to do it with an orchestra in c19 music, quite another thing to do it with a harpsichord in c18 music.

[staxomega]

Do you know what type of harpsichord Dantone is playing, is it Italian? I think Leonhardt gets a more colourful, varied and sensual sound out of his, though Dantone's sound is more muscular and bright. The embellishments are obvious, the question I have is are they effective? What is he trying to achieve with the hesitations etc? Are they supposed to be expressive? To me they sound random and intrusive (I have a similar problem with Jaroslav Tuma's WTC, which I want to like more!)

I'm only talking about Bk 2, by the way.

The issue with sound engineering in the Leonhardt is mostly in Bk 2, where the sound is not as good as the Japanese SACD, for me the SACD revealed Leonhardt's technique, the way he had mastered controlling timbre and attack by the time of this recording.

I'm at my other place so I can't check the booklet for Dantone, I will find out in a few days. Dantone is definitely more muscular and bright and the sound is quite in your face with the close mic'ing which I do not care for. I don't mind ornamentation, here I feel it was a bit much along with the rest of the things you mention, after digesting it fully I concluded Dantone's wasn't really for me; too many times I was taken out of the music of Bach. This is why I'll only listen to a handful of preludes/fugues from his recordings at a time.

[milk]

I have a live Demus I got from somewhere. I don't know how it compares to his earlier recording but I want to say it has that pure quality that Mandryka describes in Leonhardt. I haven't seen many concerts but I saw Demus play WTC and it was a real treat. He was very old at the time. I wonder if it's different when you're playing for yourself, i.e. not making a recording, not trying to prove something or make your mark or stand out from the pack?

[Holden]

Despite playing parts of the WTC from my childhood onwards, I only came to looking at recordings much later in life. When I decided that I needed the '48, I read the reviews, sampled the music and after much deliberation bought Andras Schiff's first set on Decca. I tried hard to like it but I couldn't. The music didn't grow on me and I realised why when I got sets that I could listen to. I found Schiff to be overly analytical and the music had a deconstructed feel about it.

Undaunted, I went back to what I had auditioned (this was before streaming services) and got the Jeno Jando set. To me this was much more musical and better to listen to but I still wasn't fully convinced. It's not something I went back to and listened to regularly.

The middle of 2005 was the start of a severe bout of clinical depression for me. When I realised this and sought help, all I was offered for it was strong medication from my doctor. I instinctively knew that music was the route to a cure and that wallowing in all the emotional aspects of it was not going to help. Beethoven's 'Sturm und Drang', Chopin's beauty, the emotional roller coaster of Schumann were not going to be the best thing. The best solution was Bach and I listened to virtually little else for 12 months. It worked!

At this point I sought online advice about the WTC and someone mentioned Richter on RCA. This was revelatory, and is the set I go back to time and time again. Somehow, Richter knows how to make these exercises very musical events. Even thought I've bought some other sets since, this for me is the GOAT WTC.

Honorable mention goes to another Russian, Samuil Feinberg who also brings out the music in this set. Where he differs from Richter is in the lyrical aspect as opposed to Richter's ability to use the rhythm of the pieces to great effect.

A final a very special mention must go to Friedrich Gulda. I only came across his WTC a couple of years ago and decided to give it a listen. The first P&F in C was nice, nothing spectacular but then the C minor prelude just made my jaw drop. Played at a much slower pace than normal and with almost no pedal. The bell like sound he got from the top note that began every set of the eight note pattern was mesmersing.

His eschewing of pedal use (unless he felt it was necessary) gave such clarity to the music - especially the fugues. So different to both Richter and Feinberg but like them, so compelling.

As for other so called Bach specialists. Gould is interesting in many of the P&Fs but also perfunctory in others which surprises me. I found Tureck mechanical and boring. As I don't really like the harpsichord (though it's a great to play yourself) I can't comment on Landowska. There will be many WTCs out there that I've not heard and probably never will. The version I return to most often is Richter.

[Verena]

Despite playing parts of the WTC from my childhood onwards, I only came to looking at recordings much later in life. When I decided that I needed the '48, I read the reviews, sampled the music and after much deliberation bought Andras Schiff's first set on Decca. I tried hard to like it but I couldn't. The music didn't grow on me and I realised why when I got sets that I could listen to. I found Schiff to be overly analytical and the music had a deconstructed feel about it.

Undaunted, I went back to what I had auditioned (this was before streaming services) and got the Jeno Jando set. To me this was much more musical and better to listen to but I still wasn't fully convinced. It's not something I went back to and listened to regularly.

The middle of 2005 was the start of a severe bout of clinical depression for me. When I realised this and sought help, all I was offered for it was strong medication from my doctor. I instinctively knew that music was the route to a cure and that wallowing in all the emotional aspects of it was not going to help. Beethoven's 'Sturm und Drang', Chopin's beauty, the emotional roller coaster of Schumann were not going to be the best thing. The best solution was Bach and I listened to virtually little else for 12 months. It worked!

At this point I sought online advice about the WTC and someone mentioned Richter on RCA. This was revelatory, and is the set I go back to time and time again. Somehow, Richter knows how to make these exercises very musical events. Even thought I've bought some other sets since, this for me is the GOAT WTC.

Honorable mention goes to another Russian, Samuil Feinberg who also brings out the music in this set. Where he differs from Richter is in the lyrical aspect as opposed to Richter's ability to use the rhythm of the pieces to great effect.

A final a very special mention must go to Friedrich Gulda. I only came across his WTC a couple of years ago and decided to give it a listen. The first P&F in C was nice, nothing spectacular but then the C minor prelude just made my jaw drop. Played at a much slower pace than normal and with almost no pedal. The bell like sound he got from the top note that began every set of the eight note pattern was mesmersing.

His eschewing of pedal use (unless he felt it was necessary) gave such clarity to the music - especially the fugues. So different to both Richter and Feinberg but like them, so compelling.

As for other so called Bach specialists. Gould is interesting in many of the P&Fs but also perfunctory in others which surprises me. I found Tureck mechanical and boring. As I don't really like the harpsichord (though it's a great to play yourself) I can't comment on Landowska. There will be many WTCs out there that I've not heard and probably never will. The version I return to most often is Richter.

Very interesting to read. Similar choices to mine  Have you ever listened to some of the live Richter versions (I think one complete live set exists; at least one live WTC1 and I think one WTC2 from Budapest)? If so, how do you rate them compared to the studio recording?

[Mandryka]

I love everything Suzuki does. I've seen him perform. His WTC is wonderful. I wonder though, how to compare him to someone like Leonhardt.
People love Watchorn. I've tried for years to connect with it. I'm sure some of it is good?

Have you heard Glen Wilson? If not, I think you may be missing something original, tough and challenging. I'm not sure what to make of it.

[milk]

Have you heard Glen Wilson? If not, I think you may be missing something original, tough and challenging. I'm not sure what to make of it.

Mmm...I have it and I've read the praise of it. I just haven't sat down with it in a very long time and don't remember. Maybe I should spend time this week on it.
Re: Richter: I'm not hearing much rubato or flexibility in this recording. With stuff like this that people really love, I wanna ask what should I be listening for? I tried it today. Actually, I did find moments where I connected with some tenderness. But then I got lost in something that seemed like rigidity. Or maybe it's a subtlety I need to detect. Sometimes I need headphones to really pick up on what's going on.

[Holden]

Very interesting to read. Similar choices to mine  Have you ever listened to some of the live Richter versions (I think one complete live set exists; at least one live WTC1 and I think one WTC2 from Budapest)? If so, how do you rate them compared to the studio recording?

Apart from the RCA recorded in the studio in Salzburg I have the live Moscow (Bks I & II) and also the live Innsbruck (BkI only). I will seek out the Budapest. I found that Richter doesn't differ much live in this work as opposed to the studio recording but based on this thread I will relisten to the Moscow.

EDIT: I got it the wrong way around. The Innsbruck is Bks I and II and the Moscow is BK I only.

[prémont]

I found that Richter doesn't differ much live in this work as opposed to the studio recording ...

Very true. I have problems with detecting the difference between the studio recording and the Salzburg live. But the were also made about the same time.

[milk]

Have you heard Glen Wilson? If not, I think you may be missing something original, tough and challenging. I'm not sure what to make of it.

I've been listening to Wilson today, his BK2. At first I put on Kenneth Gilbert by mistake and wondered why it seemed lacking. I used to really like Gilbert, BTW, but man is Wilson dramatic by comparison. I think Wilson made a great overall recording and I found myself really involved in his music-making. I think it's heavy Bach, perhaps. Heavy emotionally but very alive and energetic. ETA: Wilson also has great ability to bring moments in the music alive. I'm not sure what it is in his technique.

[Mandryka]

I've been listening to Wilson today, his BK2. At first I put on Kenneth Gilbert by mistake and wondered why it seemed lacking. I used to really like Gilbert, BTW, but man is Wilson dramatic by comparison. I think Wilson made a great overall recording and I found myself really involved in his music-making. I think it's heavy Bach, perhaps. Heavy emotionally but very alive and energetic.

Wilson's WTC2 makes me think of Strauss's Electra - as played by Solti. It is hard hitting, there's no real moment of repose, it's intense, full on expressionist tragedy all the way down. He recorded The Goldberg Variations with a broadly similar vision.

[milk]

Wilson's WTC2 makes me think of Strauss's Electra - as played by Solti. It is hard hitting, there's no real moment of repose, it's intense, full on expressionist tragedy all the way down. He recorded The Goldberg Variations with a broadly similar vision.

I had to stop today and turn to Leonhardt. This is why I don't listen to Wilson that much. But it is brilliant.

[San Antone]

Bach | The Well-Tempered Clavier, bk. 1
Zhu Xaio-Mei

I have just started listening to this recording, and will go on to book 2 next.  So far, I am enjoying it quite a bit.  Her playing exhibits refinement and taste, everything nicely proportioned. 

[Verena]

Very true. I have problems with detecting the difference between the studio recording and the Salzburg live. But the were also made about the same time.

I think some of the live recordings are more extreme, not necessarily to the better, rather hard-driven sometimes (milk mentioned the occasional rigidity in Richter's playing). But if he's ,,on" live, he is (even more) spellbinding (than in his studio recordings), in my view. 

[Mandryka]

I have a live Demus I got from somewhere. I don't know how it compares to his earlier recording but I want to say it has that pure quality that Mandryka describes in Leonhardt. I haven't seen many concerts but I saw Demus play WTC and it was a real treat. He was very old at the time. I wonder if it's different when you're playing for yourself, i.e. not making a recording, not trying to prove something or make your mark or stand out from the pack?

In that concert recording Demus is very much helped by a wonderful instrument, a Steinway C made in 1913. The concert was in 1999, so he was hardly a spring chicken at the time. It's very good I think.

Premont, Vereena - I bet you'll both appreciate this, PM me if you can't find it and you want it.,

[staxomega]

Do you know what type of harpsichord Dantone is playing, is it Italian? I think Leonhardt gets a more colourful, varied and sensual sound out of his, though Dantone's sound is more muscular and bright. The embellishments are obvious, the question I have is are they effective? What is he trying to achieve with the hesitations etc? Are they supposed to be expressive? To me they sound random and intrusive (I have a similar problem with Jaroslav Tuma's WTC, which I want to like more!)

I'm only talking about Bk 2, by the way.

The issue with sound engineering in the Leonhardt is mostly in Bk 2, where the sound is not as good as the Japanese SACD, for me the SACD revealed Leonhardt's technique, the way he had mastered controlling timbre and attack by the time of this recording.

Sorry for the delay, for both Book 1 and 2 he used an Olivier Fadini from F. Blanchet (Paris 1733). Temperament is in Werckmeister III.

[Mandryka]

Sorry for the delay, for both Book 1 and 2 he used an Olivier Fadini from F. Blanchet (Paris 1733). Temperament is in Werckmeister III.

That may be the same instrument that Tuma used for The Goldberg Variations - Dantone makes it sound more powerful in the bass. As far as I know the original has never been recorded.

[SergeCpp]

I not listen to WTC much but sometimes I do (these listenings were mostly from my past time). I keep track of my favorite recordings and here are three favorites for each instrument.

Harpsichord
Masaaki Suzuki (1996, 2005)
Ottavio Dantone (2000)
Kenneth Gilbert (1983)

Piano
Angela Hewitt (2008)
Bernard Roberts (1998)
Takahiro Sonoda (1972), rather old but very good.

There are two additional harpsichord recordings, I not listened them much (to include in top list) but I like them.

Pieter-Jan Belder (2008), fine instrument sound and performance.

Trevor Pinnock (2020), only Volume 1 is recorded and available on YouTube (Provided to YouTube by Universal Music Group, Released on: 2020-04-10). See also Trevor Pinnock - My Baroque (Videoblog dedicated to this WTC reccording) on DG channel.