Bach: Well-Tempered Clavier

[Bogey]

One thing I hadn't considered concerning the mechanical noises.  Is it possible that the sound on the Arkiv on-demand copies is a little different?

I have not read anything where they tinkered with the mastering, Don.

[Bulldog]

I have that set, and frankly I do not recall noticing anything of the sort.
I will have a listen tomorrow morning - will report back to you.

Q

I hadn't noticed it either until DarkAngel brought it up.

[prémont]

I have not read anything where they tinkered with the mastering, Don.

I hadn't noticed it either until DarkAngel brought it up.

Neither had I. This is of course, because we are used to these discrete mechanical extra-sounds.

[Clever Hans]

Hello harpsichord fans,

I got Suzuki's WTC II from arkivmusic 2 weeks ago. At this time, I think his complete set is as insightful as and complementary to Leonhardt's, Gilbert's and Wilson's. I do not have Asperen's but love his English Suites, so I will be picking his up and maybe his French Suites on Aeolus after I order a couple Parmentier recordings.

I think Suzuki's playing is very tasteful, subtle and nuanced, and with nice choices in tempi and development. He is often a little more gentle than the others--and this is enhanced by the recording quality I believe-- but I'm glad someone has chosen this interpretative route, treating the lines like benevolent voices, I suppose.

Two of my favorites at the moment are his BWV875 Praeludium and BWV887 Fuge, where patience pays off. And I love how he lets the first chord of the BWV870 Praeludium hang, which no one else does.

It seems to me that some reviewers aren't willing to honor Suzuki's stylistic approach, or give him ratings just shy of great, perhaps presuming fortune's allotment has already been spent on his cantata recordings.

But I think Suzuki's WTC and Partitas rank with the best. In the latter he plays the 6th's gigue squared which I like.

[DarkAngel]

Darkangel, I'm listening to Glen Wilson's Book II right now and I'll be damned if I hear any obtrusive/ clearly noticeable noises. (Do you listen using headphones?)
Since neither Don nor Premont have noticed it as well, I'm wondering if that CD-R copy that you got from Arkiv is quite OK?

I listen using high end stereo, Bulldog (Don) said it sounds like castanets in the background which is a very good description, it is a sound you will hear ocassionally in almost any harpsicord recording if you listen closely, just more obvious here for whatever reason.........nothing that will cause me to sell this version or overlook this fine performance.

[DarkAngel]

I got Suzuki's WTC II from arkivmusic 2 weeks ago. At this time, I think his complete set is as insightful as and complementary to Leonhardt's, Gilbert's and Wilson's. I do not have Asperen's but love his English Suites, so I will be picking his up and maybe his French Suites on Aeolus after I order a couple Parmentier recordings.

I think Suzuki's playing is very tasteful, subtle and nuanced, and with nice choices in tempi and development. He is often a little more gentle than the others--and this is enhanced by the recording quality I believe-- but I'm glad someone has chosen this interpretative route, treating the lines like benevolent voices, I suppose.

I also just acquired the Suzuki/BIS WTC II and you description is close to my feeling.....Zen and the art of WTC.

Subtle and elegantly nueanced with balanced tempi, this seems to be an extension of his Bach sacred vocal works for BIS.........I would like a touch more dramatic contrast since WTC is a secular work, but with the great sound quality this will be very popular with the public and critics 

[George]

I also just acquired the Suzuki/BIS WTC II and you description is close to my feeling.....Zen and the art of WTC.

Sounds very cool!

[Opus106]

Sounds very cool!

Just the thing for a certain Minnesotan member.


(What! Minnesotan isn't a word?)

[SonicMan46]

Curious about Suzuki's WTC I also, i.e. good dual set to own for harpsichord?

According to this Fanfare Review, the WTC II is considered potentially one of the best performances on this instrument; interestingly, mention is made that Suzuki's release of the first book was back in 1997!  Any thoughts about that recording from those who may own the set?  Looks like a nice 4-CD package that BIS could put together in the near future? 

[Bulldog]

Curious about Suzuki's WTC I also, i.e. good dual set to own for harpsichord?

According to this Fanfare Review, the WTC II is considered potentially one of the best performances on this instrument; interestingly, mention is made that Suzuki's release of the first book was back in 1997!  Any thoughts about that recording from those who may own the set?  Looks like a nice 4-CD package that BIS could put together in the near future? 

I have Suzuki's Bk. 1 and find it an excellent account.  It likely will be issued with Bk. 2 at some point, but I wouldn't want to wait that long.

[Clever Hans]

I just listened to Suzuki's Book I again to refresh my memory, and I think it is on about the same level as his Book II, and here are some examples why:

In the BWV 847 Prelude, he starts with a strong and steady tactus and when he reaches the 1:07 mark he lets loose. Pierre Hantai starts fast and does something similar, although he is more intensely virtuosic. 

The BWV 849 Prelude and Fugue are extremely beautiful, particularly how Suzuki draws out tension in the Fugue. He also plays a little arpeggiated flourish at 3:40 in the lead up to the dissonant chord, which is interesting.

He plays the BWV 851 prelude at a slower than common tempo, which is just as effective as Gilbert's drive or Leonhardt's lute stop in giving character. In general, I would agree with others that Suzuki brings out a feeling of gracefulness and dance in much of his playing.

The BWV 855 Fugue is very exciting, especially taken in contrast with the Prelude, which is developmentally astounding.

BWV 864 Fugue, how his articulation spreads out and then reins in the rhythmic energy. To put it lightly, it must require concentration to be able to do this.

BWV 867 Fugue has the most tasteful ornamentation.






 

[Holden]

I have a number of versions of this great compendium - all different and all worthwhile. They include the prim and proper Andras Schiff, the bombastic Richter, Feinberg's pioneering approach and the journeyman Jeno Jando.

Today I got a version (Book I only) out of the library that really made me sit up and listen.  It's very different and certainly not one for the purists. What struck me most of all is the way the fugues were handled. This pianist attempted to bring out all the voices and give each one it's little solo where he thought they should stand up and be counted and regardless of whether they were SAT or B. While it didn't work for every single fugue it was very effective for many of them and the technical skill required to do this and get away with it was hair raising in places.

It is the orchestral/operatic approach to these works that makes this CD so interesting and one I will purchase specifically for this aspect. The fact that this pianist is also a conductor listening to it I sought out reviews. The musical critics were not impressed. Jed Distler really panned it (no surprise). When I went to Amazon however the reviews overall were very positive in the main. This is possibly a recording that might get someone into listening to and enjoying the WTC who would otherwise have ignored it.

As for me, I really like this Bk I recording. It's the fugues in particular that have really grabbed me. With all my other recordings the opposite has been the case.

[Bulldog]

Why didn't you name the pianist?  For the present, I'll assume you're talking about Barenboim.  FWIW, my opinion of the performances is in sync with Distler's.

[Carolus]

Gulda's enough for me.

[springrite]

Why didn't you name the pianist? 

Maybe this is a quiz thread...

[DarkAngel]

Why didn't you name the pianist?  For the present, I'll assume you're talking about Barenboim.  FWIW, my opinion of the performances is in sync with Distler's.

Indeed, what is the purpose of discussing an unknown performance?
Bulldog most likely has guessed the performance in question:

http://www.classicstoday.com/review.asp?ReviewNum=8061

[Holden]

Sorry, in my haste write the thread I forgot. it is Barenboim.

[prémont]

Sorry, in my haste write the thread I forgot. it is Barenboim.

No need to haste, - Barenboim surely does not run anywhere.   

[Scarpia]

Have recently listened to the first six preludes and fugues of Bk I from Glenn Gould.  I must say, I am not getting a great deal of pleasure from these recordings and I wonder if I should continue listening, given the number of alternatives.  Certainly the clarity of the articulation is admirable, but at times I feel like I am listening to a player piano or a midi synthesizer. 

And, again it seems a shame that this pianist, who did not give any concerts in his substantive career, left only a small number of recordings which are characterized by very poor audio engineering, judging from this set.   

Maybe I should listen to that Barenboim set, mentioned above and gathering dust on my shelves.

[Bulldog]

Have recently listened to the first six preludes and fugues of Bk I from Glenn Gould.  I must say, I am not getting a great deal of pleasure from these recordings and I wonder if I should continue listening, given the number of alternatives.  Certainly the clarity of the articulation is admirable, but at times I feel like I am listening to a player piano or a midi synthesizer. 

And, again it seems a shame that this pianist, who did not give any concerts in his substantive career, left only a small number of recordings which are characterized by very poor audio engineering, judging from this set.   

Maybe I should listen to that Barenboim set, mentioned above and gathering dust on my shelves.

You're a hard man to please when it comes to sound quality; I don't find Gould's sound bad at all.

As for either of the Barenboim sets, they shouldn't be gathering dust on your shelves; they should be in the next refuse pick-up.