Bach: Well-Tempered Clavier

[kishnevi]

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.  )

Well,  there's no doubt about where you stand on Gould!
I have most of his Bach recordings, and listen to them with pleasure.  I think there are several better recordings of the Goldbergs since his original version appeared--fifty five years is a very long time in the recording business--but there are still things worth hearing in his performances.  I have two of his non Bach recordings:  Renaissance keyboard works by Byrd and others, and the Hindemith piano sonatas.  The latter does not impress me, but I'm inclined to suspect the fault there lies with Hindemith, not Gould.

I think the trailer you saw was highly edited, and meant to emphasize his eccentricities.  He did in fact have more than a few interesting things to say about music; I've read a book containing some of his essays (some of them originally liner notes for his albums), and they were all high quality writing.  (IIRC, the book was called The Glenn Gould Reader.)  If you come across them,  they make worthwhile reading no matter what you think of his actual recordings.

[Holden]

I've read some interesting reviews about this



The short excerpts provided don't really give an idea of the structure of the works. Has anyone heard this who can comment?

[SonicMan46]

I've read some interesting reviews about this



The short excerpts provided don't really give an idea of the structure of the works. Has anyone heard this who can comment?

Holden - can't help but will be interested in comments - excellent review on his website HERE by Jed Distler; also, a 5* Amazon USA Review mentions a 'pocket score' included - not sure what that may mean, but I would be curious as to how this offering is packaged?   

[Bulldog]

I've read some interesting reviews about this



The short excerpts provided don't really give an idea of the structure of the works. Has anyone heard this who can comment?

I'm very familiar with the set and consider it exceptional, although not compelling in every prelude and fugue.  Generally, Woodward offers very serious interpretations with some "lift" lacking in the faster pieces.  Therefore, his best performances are of the slower pieces where despair and regret are prominent such as the Fugue in F minor from Bk. 1 and Prelude in C sharp minor from Bk. 2. 

Woodward's counterpoint is wonderful and conversational patterns illuminating.  I also love his strong articulation; when he departs from this strength, the performances are not outstanding.

I've read the linked reviews that Dave provided and find them to be the stuff of promotion, such as the nonsense of some kind of significance that Woodward records the set at the same age that Bach died.

I first became familiar with Woodward's Bach through another Celestial Harmonies disc containing a French Suite, Partita and Chromatic Fantasia and Fugue.  I love that disc and this new set as well.

I can't report on the packaging, because I have been listening to the entire set on the Naxos Music Library.  I notice that the cost of the physical product is about $90.  That's quite steep, but I do think the set well worth it.

As for comparisons, Tureck's set still remains my no. 1 pick.  However, Woodward stands tall next to Richter, Gould, Gulda, Vieru, Sheppard, Crossland, Schepkin and Fellner.  He's also more rewarding than Schiff and Hewitt.

Just one more thing.  I remember that the MusicWeb reviewer was not very complimentary about the single disc I mentioned above; he felt that the readings were overly romanticized and not conducive to the dancing nature of the works.  I disagree.  The romanticism is not "over the top", and Woodward's supreme dialogue easily overcomes any lack of the "traditional" dance element.

Another edit.  When I first read the Amazon link from Dave, I didn't notice the David Cates review.  I believe that he's the same David Cates who recorded the French Suites on Music & Arts; that set is my favorite.  I put a lot of faith in what Cates has to say.

[Clever Hans]

As for comparisons, Tureck's set still remains my no. 1 pick.

What are your feelings regarding her DG vs BBC recordings? ,
Personally, I've been considering buying the Aldwell Book I mp3s because the samples are so good. It's utterly ridiculous that Nonesuch has II in CD form but not I, especially of an artist who died pretty recently. Maybe if I listen to the mp3s enough I'll save up the $200 necessary for the price gougers, and I can have lossless. Why can't everyone be like Linn?

[Bulldog]

What are your feelings regarding her DG vs BBC recordings? ,
Personally, I've been considering buying the Aldwell Book I mp3s because the samples are so good. It's utterly ridiculous that Nonesuch has II in CD form but not I, especially of an artist who died pretty recently. Maybe if I listen to the mp3s enough I'll save up the $200 necessary for the price gougers, and I can have lossless. Why can't everyone be like Linn?

I have both Tureck sets and find the DG a more affectionate and warmer performance; the BBC is rather clinical.  However, I love both of them.

As for Aldwell, I acquired both books when they were initially released many years ago.  Excellent performances.  If you'd like a CD-R of either or both books, just let me know.

[Clever Hans]

I have both Tureck sets and find the DG a more affectionate and warmer performance; the BBC is rather clinical.  However, I love both of them.

As for Aldwell, I acquired both books when they were initially released many years ago.  Excellent performances.  If you'd like a CD-R of either or both books, just let me know.

Ah, that's good to know. I recently picked up her DG set, and it's got tons of personality. Thank you for your kind offer of Aldwell.

[SonicMan46]

Woodward's counterpoint is wonderful and conversational patterns illuminating.  I also love his strong articulation; when he departs from this strength, the performances are not outstanding.

I can't report on the packaging, because I have been listening to the entire set on the Naxos Music Library.  I notice that the cost of the physical product is about $90.  That's quite steep, but I do think the set well worth it.

As for comparisons, Tureck's set still remains my no. 1 pick. Sheppard, Crossland, ....

Another edit.  When I first read the Amazon link from Dave, I didn't notice the David Cates review.  I believe that he's the same David Cates who recorded the French Suites on Music & Arts; that set is my favorite.  I put a lot of faith in what Cates has to say.

Don - that Woodward 'combined' offering interests me - being offered at about $44 at MDT (shipping would be cheap w/ a good sized order) - now I have Crossland & Sheppard Bk. 1 (his Bk. 2 seems to have received a lesser enthusiastic reception?) - so if I want a couple 'piano' versions of the WTC, should I just pick up Sheppard Bk. 2 or go w/ the Woodward 5-disc set purchased across the pond?  BTW - a little reluctant to consider Tureck because of the age & sonics of the recordings?  So, how is that price quoted above?    Dave

[Bulldog]

Don - that Woodward 'combined' offering interests me - being offered at about $44 at MDT (shipping would be cheap w/ a good sized order) - now I have Crossland & Sheppard Bk. 1 (his Bk. 2 seems to have received a lesser enthusiastic reception?) - so if I want a couple 'piano' versions of the WTC, should I just pick up Sheppard Bk. 2 or go w/ the Woodward 5-disc set purchased across the pond?  BTW - a little reluctant to consider Tureck because of the age & sonics of the recordings?  So, how is that price quoted above?    Dave

That's a great price.

Concerning the Sheppard, I remember a review, likely in Fanfare, that favored his Bk. 1 over 2.  I also recall a review favoring Bk. 2.  Personally, I think both are exceptional.

It's a little amusing that you're reluctant to acquire the Tureck set, because I'd be willing to give up all my other WTCs if that's what it took to keep the Tureck.  It's the most treasured recording in my entire collection, all composers included.

[George]

It's a little amusing that you're reluctant to acquire the Tureck set, because I'd be willing to give up all my other WTCs if that's what it took to keep the Tureck.  It's the most treasured recording in my entire collection, all composers included.

Not to mention the fact that the sonics are fine.

[Coopmv]

Not to mention the fact that the sonics are fine.

Agree.  If I can deal with the WTC I & II by Edwin Fischer reconstructed/remastered by MOT, then the SQ of Tureck's WTC on DG is actually quite good IMO ...

[Bulldog]

This Scarpia character is just your stereotypical musical ignoramus that's all.

Gould on the other hand was a musical genius.

You keep talking like that, and Scarpia will zap you with the FUBAR II.

[Valentino]

My new favourite Book I:

[Coopmv]

My new favourite Book I:

Val,   Your post is always interesting to me since you probably have the most leading-edge sound system - all digital - among all the folks on this forum.  There is much I can learn from you when I decide to go digital whole hog ...   

[Scarpia]

My new favourite Book I:

Anything more specific you can say about it?  What is your second favorite?

[Valentino]

I like Andras Schiff, and I prefer his to Hewitt's first. I find Ashkenazy boring.
Then along comes Pollini blows the cowwebs away. Modernism suits Bach.

(The main difference to my sound system to most others is that the speakers are dynamic dipoles. Not many of those around. And they are active. Even fewer. And they have software crossovers. Tres Avant Garde, oui.)

[Bulldog]

I like Andras Schiff, and I prefer his to Hewitt's first. I find Ashkenazy boring.
Then along comes Pollini blows the cowwebs away. Modernism suits Bach.

I very much enjoy the Pollini set and especially like that he delves deeply into Bach's dark side, considering the common complaint that Pollini's a rather cold pianist.

However, I don't know what you mean by "modernism"; could you explain?

[Mandryka]

I very much enjoy the Pollini set and especially like that he delves deeply into Bach's dark side, considering the common complaint that Pollini's a rather cold pianist.

However, I don't know what you mean by "modernism"; could you explain?

Good question.

And while we're at it -- maybe you could say which are the bits where you hear him delve deeply. You've got me thinking.

[Scarpia]

I very much enjoy the Pollini set and especially like that he delves deeply into Bach's dark side, considering the common complaint that Pollini's a rather cold pianist.

However, I don't know what you mean by "modernism"; could you explain?

Interesting.  I seemed not particularly remarkable in the 30 second excepts, but clearly that is no way to appreciate whether a performance delves deeply.  I'm getting intrigued again. 

As far a Pollini being cold, I think that was an issue with his early performances.  In more recent recordings there seems to be less emphasis on technical purity, and more on beauty of sound and creating the correct atmosphere.

[Bulldog]

Good question.

And while we're at it -- maybe you could say which are the bits where you hear him delve deeply. You've got me thinking.

Check out Pollini's Prelude in C sharp minor - very bleak and emotionally piercing.