Bach: Well-Tempered Clavier

[Bulldog]

I did and parted with it.

I was very disappointed in Beausejour's Bk. 1: very mainstream, limited range of color and texture and a representation of Bach's music as quite moderate.  Further, bass response was thin, damaging the musical dialogue.

[Bulldog]

Well, I now have both books of the WTC w/ Peter Watchorn on the pedal harpsichord; so still in the market for a version on standard harpsichord.  I was just re-reading the review on Peter-Jan Belder's Brilliant release of these works (the price is certainly right!) in the American Record Guide (Jan-Feb 2010).

The reviewer is Rob Haskins - he also did a back-to-back writeup of Suzuki's WTC II; his top 3 choices are Suzuki, Dantone, & Belder in that order (w/ no mention of Glen Wilson); so the competition does deepen - 

I shall await the thoughts of some of our esteemed Bachians on their first-hand listening to the Belder set - 

I have much respect for Rob Haskins.  He's not a reviewer who plays a disc a couple of times and then makes definititive pronouncements.  He listens many times and always is questioning his own preconceptions.  A case in point is his review of Vartolo's Art of Fugue (Naxos) in the November/December ARG.  Those who read it will find Haskins a top-notch reviewer.

None of the above means that I will agree with Haskin's opinion of the Belder set, but an honest and thorough reviewer demands our attention.

[Antoine Marchand]

I am getting VERY curious about that Suzuki set.

Me too: the word "Zen" -used by Q, although not in a favourable way- can be very compelling as a description. 

[DavidRoss]

Me too: the word "Zen" -used by Q, although not in a favourable way- can be very compelling as a description. 

I almost commented on that, too, when first I saw it, wondering what the heck "zen" has to do with "barren, overly meticulous & micro-focused."  More unzenlike qualities are hard to imagine.

[Bunny]

Well, I now have both books of the WTC w/ Peter Watchorn on the pedal harpsichord; so still in the market for a version on standard harpsichord.  I was just re-reading the review on Peter-Jan Belder's Brilliant release of these works (the price is certainly right!) in the American Record Guide (Jan-Feb 2010).

The reviewer is Rob Haskins - he also did a back-to-back writeup of Suzuki's WTC II; his top 3 choices are Suzuki, Dantone, & Belder in that order (w/ no mention of Glen Wilson); so the competition does deepen - 

I shall await the thoughts of some of our esteemed Bachians on their first-hand listening to the Belder set - 

I'd go for the Dantone (which I already have) if I were you.  He is so baroque -- and I mean that in the best way: theatrical, ornamented, and never, ever, boring.

[Lilas Pastia]

Belder's Scarlatti is much like the examples I know of Beauséjour's playing: fluent and unobtrusive, always musical, but somewhat short on imagination and daring. The Lagacés (Mireille and Bernard) and Kenneth Gilbert are the grand old people of canadian organ and harpsichord playing , and unfortunately the defects I mention can all be traced back to their fastidious, tasteful but unimaginative music-making. Sometimes a playing tradition can do more harm than good... I'll take Scott Ross over Belder any day in Scarlatti - athough he, too, has been left behind by the younger generation of players.

For the piano version I go for Horszowski in book 1, and Feltsman in Book II. Vastly different approaches that complement each other well. Book II is quite different from Book I anyway.

[Que]

On the basis of Belder's Scarlatti sonata set which I own about 50% of I am not a motivated buyer of his WTC. He has a clean flexible but somewhat cautious style compared to Scott Ross complete set or CDs by Hantai, Staier etc, leaves some cards on the table if you will. You may think well that is exactly what I want for harpsicord Bach......perhaps but not for me, although I do think as Que indicates he could be more rythmic flexible compared to the old school Leonhardt or Van Asperen styles which is a good thing

I do 100% agree with your assesment of Belder's Scarlatti, cautious & stiff/ "wooden". Scott Ross is my no. 1  . And I wasn't enchanted by Belder's F. Couperin set, either....no mystery..no poetry! But, but: I do think his Soler absolutely rocks! So, it all depends on the match between performer & composer. I haven't tried his new Rameau or the Händel set.

That all being said, I've not been terribly keen on Van Asperen's Bach - though downright smitten by his Froberger! - or was won over by Leonhardt's WTC. Maybe Belder will trump his old masters, but I won't know before I try the set properly. Maybe I will.

Q

[Clever Hans]

The recorded sound of Glen Wilson's Zell copy is close to perfect.
If I had to recommend a first WTC, I would definitely choose his set because of the microphone placement and it's excitement and virtuosity.

Leonhardt sounds the most authentic and authoritative to me, whatever that means, but the recorded sound is not ideal. I wish he would do some more bach recordings, e.g. the partitas with repeats, before he leaves this earth. That Byrd selection for Alpha is great.

I think the Suzuki set can be just as rewarding, has a great sound, but may require more patience and somehow seems modern (due in part to BIS's production). Direct prelude and fugue comparisons with Gilbert, Leonhardt, and Wilson, among others, reveal Suzuki's insights on the interplay of voices. Sure, it's predictable given his conducting background and style, but it's nevertheless true.

Scott Ross's Scarlatti is just incredible on so many levels.

As for Asperen, it would appear, based on reviews of his Aeolus recordings, that he has further matured, although I haven't gotten around to buying those yet.

[George]

Me too: the word "Zen" -used by Q, although not in a favourable way- can be very compelling as a description. 

Indeed. The adjective has been used (in a favorable way) to describe Rudolf Serkin's playing.

I checked my usual places to see if I could download it and try it out before buying it, but unfortunately, no one seems to have it. However, the amazon samples didn't send me running to the checkout.  I think I'd prefer to get to know my two newest WTC (Tureck DG and Moroney HM) before seeking out more versions.   

[Coopmv]

Indeed. The adjective has been used (in a favorable way) to describe Rudolf Serkin's playing.

I checked my usual places to see if I could download it and try it out before buying it, but unfortunately, no one seems to have it. However, the amazon samples didn't send me running to the checkout.  I think I'd prefer to get to know my two newest WTC (Tureck DG and Moroney HM) before seeking out more versions.

I have the following Moroney set but really have not thought about getting his WTC set (with that weird hand?  ).  I have had the Tureck's set for a good number of months and that was a good purchase decision.  I doubt there are any versions other than the latest version by Angela Hewitt and the Leonhardt's set I want to own ...

[Scarpia]

My Gould copy sold on Amazon Marketplace.  Whew, that's a relief.     I have replaced it with the Ashkenazy, which hasn't arrived yet but which I am looking forward to.  Also just received Hewitt take 2 for a very good price from that outrageous French website with the sale.   Actually, I noticed the package did not come from France.  It came from a Naxos warehouse at an address in Germany.

[DarkAngel]

My Gould copy sold on Amazon Marketplace.  Whew, that's a relief.     I have replaced it with the Ashkenazy, which hasn't arrived yet but which I am looking forward to.  Also just received Hewitt take 2 for a very good price from that outrageous French website with the sale.   Actually, I noticed the package did not come from France.  It came from a Naxos warehouse at an address in Germany.

Are you sure you don't have room for either of Gould's Goldberg Variations in your collection?

Even if it is not your favorite version good to keep as a reference since it will always be referred to in any Goldberg discussion........

[DavidRoss]

My Gould copy sold on Amazon Marketplace.  Whew, that's a relief.     I have replaced it with the Ashkenazy, which hasn't arrived yet but which I am looking forward to.  Also just received Hewitt take 2 for a very good price from that outrageous French website with the sale.   Actually, I noticed the package did not come from France.  It came from a Naxos warehouse at an address in Germany.

Even though our tastes diverge as often as not, I am interested to hear your impressions of Hewitt II.

"Outrageous French website with the sale?"

[Antoine Marchand]

Are you sure you don't have room for either of Gould's Goldberg Variations in your collection?

Even if it is not your favorite version good to keep as a reference since it will always be referred to in any Goldberg discussion........

Which of them? The first or the second one? 

[Scarpia]

Even though our tastes diverge as often as not, I am interested to hear your impressions of Hewitt II.

"Outrageous French website with the sale?"

http://classique.abeillemusique.com/

You picked the wrong week to stay away from GMG.  Sale is over, unfortunately.  I got Hewitt take 2 (Bk I and II), and the complete Chopin by Ohlsson on Hyperion for 39 Euros, including about 7 Euros for shipping to the US.  Going by list price, that should be $250.   The deals Brilliant Classics were particularly outrageous, but I resisted.

[DarkAngel]

Are you sure you don't have room for either of Gould's Goldberg Variations in your collection?

Even if it is not your favorite version good to keep as a reference since it will always be referred to in any Goldberg discussion........

Sorry forgot this is the WTC thread, but same logic applies.........every collection should have Gould WTC if only for reference purposes.

About Angela Hewitt WTC version II
As said earlier here they are similar to her WTC version I no need to really have both, if I could only keep one it would be her WTC I despite the reasons given in her booklet why she feels WTC version II are even better after years of performances and the experience gained

[Scarpia]

Sorry forgot this is the WTC thread, but same logic applies.........every collection should have Gould WTC if only for reference purposes.

About Angela Hewitt WTC II
As said earlier here they are similar to her WTC I no need to really have both, if I could only keep one it would be her WTC I despite the reasons given in her booklet why she feels WTC II are even better after years of performances and the experience gained

I had the same impression about Hewitt's WTCs, except with the sale it was so cheap I can sell whichever I like least and come out with no money lost, or perhaps a modest profit.

Back to Gould, I don't generally keep recordings "for reference."  I'm sure that if I live to be 1000 years old I will never want to listen to the Gould recording again.  It simply repulsed me from every point of view.  The artificial-sounding engineering grated on my nerves, the humming, the overly mechanical, staccato articulation of every note.  The last straw was when I rented some opera DVD which had a preview of a film about Glenn Gould.  Aside from the social awkwardness, his comments about music didn't leave me interested in any "insights" that he might have.  Too many alternatives to have these recordings taking up space on my shelves.  (In retrospect, I should have ripped the discs to mp3 files before sending it off, just to remind myself never to be tempted to buy it again.  )

[DarkAngel]

I had the same impression about Hewitt's WTCs, except with the sale it was so cheap I can sell whichever I like least and come out with no money lost, or perhaps a modest profit.

Back to Gould, I don't generally keep recordings "for reference." I'm sure that if I live to be 1000 years old I will never want to listen to the Gould recording again.  It simply repulsed me from every point of view.  The artificial-sounding engineering grated on my nerves, the humming, the overly mechanical, staccato articulation of every note.  The last straw was when I rented some opera DVD which had a preview of a film about Glenn Gould.  Aside from the social awkwardness, his comments about music didn't leave me interested in any "insights" that he might have.  Too many alternatives to have these recordings taking up space on my shelves.  (In retrospect, I should have ripped the discs to mp3 files before sending it off, just to remind myself never to be tempted to buy it again.  )

I fully recoginze that Gould WTC  is a love/hate type performance.......not much middle ground.
Plus the humming can be very distracting compared to other artists

I think it is a good thing to have artists push the envelope from time to time, make you reconsider what is possible

[Scarpia]

I think it is a good thing to have artists push the envelope from time to time, make you reconsider what is possible

I completely agree about pushing the envelope.  I will benefit by listening to pianists who leaned something from Gould, without actually being mentally ill themselves.

[Bulldog]

Back to Gould, I don't generally keep recordings "for reference."  I'm sure that if I live to be 1000 years old I will never want to listen to the Gould recording again.  It simply repulsed me from every point of view. 

That's a reaction to Gould that I can't comprehend.  However, I also don't keep recordings around for reference; if I think they suck, they're gone (not worth the space they take up).