Bach: Well-Tempered Clavier

[Bulldog]

For the WTC, on piano I enjoy my Schiff and Hewitt most often.  Recently I've been making my way through Ashkenazy, which is not spectacular.  I've got Crosswind and Woodward on deck, and Guilda which I owned once upon a time, sold, and now have again.

Crosswind is a nice name, but Jill prefers Crossland.

[Scarpia]

Crosswind is a nice name, but Jill prefers Crossland.

Now who's particular?

[Bulldog]

Now who's particular?

I laughed at that one.

[Scarpia]

Listened to the Fugue in F-sharp minor from Book II, Ashkenazy's recording (the one I've been working through recently).  A beautiful work.  Ashkenazy's performance isn't particularly revelatory, but he maintains admirable clarity of the voices throughout.  His fingers are still working well, even if he doesn't have a particular way with Bach.

[Bulldog]

Listened to the Fugue in F-sharp minor from Book II, Ashkenazy's recording (the one I've been working through recently).  A beautiful work.  Ashkenazy's performance isn't particularly revelatory, but he maintains admirable clarity of the voices throughout. 

I did the same and agree that Ashkenazy plays it well, but his sound is a little too bloated for me.  Crossland also plays it excellently in sound I find more agreeable.  Both versions are more mellow than Belder; some of that is due to instrumentation.  All else being equal, the harpsichord does Bach's austerity more convincingly than the piano.

[Que]

Just wanted to share this with the group.  Yesterday, I must have listened to the Fugue in F sharp minor of BK. 2 at least ten times in a row (Belder/Brilliant Classics).  It's such a fantastic piece of sublime intensity that sears its way into my soul; also, I find the mix of austerity and lyricism totally compelling.  Doesn't hurt that Belder's interpretation is about the most rewarding I've ever heard.

I found Belder sounding rather promising on the basis of on line samples (yes! ).

Don, thanks for the "heads up" I will put Belder on the need-to-investigate-list! Though I'm happy with Glen Wilson and Ottavio Dantone, and am eagerly anticipating a possible WTC by Rousset, I do not have yet a recording by a member of he Dutch School... I found the Old Master (Leonhardt) and Van Asperen not quite there - too conservative.

Q

[Antoine Marchand]

I found Belder sounding rather promising on the basis of on line samples (yes! ).

Don, thanks for the "heads up" I will put Belder on the need-to-investigate-list! Though I'm happy with Glen Wilson and Ottavio Dantone, and am eagerly anticipating a possible WTC by Rousset, I do not have yet a recording by a member of he Dutch School... I found the Old Master (Leonhardt) and Van Asperen not quite there - too conservative.

Q

The Old Master? I really hate that nickname, dear Q. It's so condescending to talk about the greatest harpsichordist alive, both historical and artistically.

[Que]

The Old Master? I really hate that nickname, dear Q. It's so condescending to talk about the greatest harpsichordist alive, both historical and artistically.

It must have different ring to it in your ears than mine, Antoine. I regret that it lead to a presumption of a lack of respect on my part.

I mean it in reverence and respect to his (historical and artistic) stature in the musical world, certainly not as condescending. The term is in the Dutch context associated with legendary painters like Rembrandt, Vermeer, Rubens etc. "Old Master" is not to be taken literally, though he is 82, but referring to the fact that he is kind of the arch-father of the harpsichord world and the HIP-movement, who taught many major harpsichord players of today. It is hard to make comparisons in greatness, but he indeed was and still is very influential as the (co-)founder of a new musical tradition.

Anyway, I think I'll play a recording by Leonhardt this morning!

Instead on dwelling on these unpleasantries...

Q

[DavidRoss]

Crosswind is a nice name, but Jill prefers Crossland.

Better than Breakwind....

[Bulldog]

Better than Breakwind....

That's a good one.

[Antoine Marchand]

It must have different ring to it in your ears than mine, Antoine. I regret that it lead to a presumption of a lack of respect on my part.

I mean it in reverence and respect to his (historical and artistic) stature in the musical world, certainly not as condescending. The term is in the Dutch context associated with legendary painters like Rembrandt, Vermeer, Rubens etc. "Old Master" is not to be taken literally, though he is 82, but referring to the fact that he is kind of the arch-father of the harpsichord world and the HIP-movement, who taught many major harpsichord players of today. It is hard to make comparisons in greatness, but he indeed was and still is very influential as the (co-)founder of a new musical tradition.

Anyway, I think I'll play a recording by Leonhardt this morning!

Instead on dwelling on these unpleasantries...

Q

I am sorry if my comment was unpleasant, Q. But "Old Master" sounds to me in the same way that "Papa" Haydn, for instance. Although maybe it's just a preconception of mine.

[Bulldog]

I am sorry if my comment was unpleasant, Q. But "Old Master" sounds to me in the same way that "Papa" Haydn, for instance. Although maybe it's just a preconception of mine.

I consider those terms very positive. 

[Coopmv]

I found Belder sounding rather promising on the basis of on line samples (yes! ).


Q

I will buy the set outright, it is dirt cheap anyway and at worst, it will be an inexpensive mistake.

[DarkAngel]

I will buy the set outright, it is dirt cheap anyway and at worst, it will be an inexpensive mistake.

Never hurts to have cheap price.......
Belder is not one of my favorite harpsichord performers but I suspect his straight forward style is more suited to Bach WTC than it was to Scarlatti sonatas where I have heard much of his work.

I actually sold off all his Scarlatti sonata Cds after getting Scott Ross complete boxset and owning multiple Cds by Hantai, Sempe, Staier for instance.....all display a more dramatic imaginative performance style.

Hantai interesting can be equally fine playing playing dramatic flambouyant Scarlatti sonatas or Bach and so are a few others.........I am slightly tempted to get the Belder boxset, but not in any hurry.

I would be interested in getting comments from Que since I know he is big Scott Ross Scarlatti fan and we both strongly favor Glen Wilson's harpsicord WTC

[Marc]

I am sorry if my comment was unpleasant, Q. But "Old Master" sounds to me in the same way that "Papa" Haydn, for instance. Although maybe it's just a preconception of mine.

I consider those terms very positive.

Me, too.
(As did a certain W.A. Mozart.)

In my case, it might be strictly personal :
my papa is a nice person, and he's an old master in errr .... gardening.

[Antoine Marchand]

I consider those terms very positive.

Me, too.
(As did a certain W.A. Mozart.)

They seem very positive, indeed; but can be easily used as a "condescending" -I never said pejorative- term.

I think this article on the Wiki illustrates well my point:

http://en.wikipedia.org/wiki/Papa_Haydn

   

[Marc]

They seem very positive, indeed; but can be easily used as a "condescending" -I never said pejorative- term.

I think this article on the Wiki illustrates well my point:

http://en.wikipedia.org/wiki/Papa_Haydn

Mmm .... maybe this explains why I'm such a retro and HIP dude : only (huhu) interested in the authentic approach ....

[Que]

Never hurts to have cheap price.......
Belder is not one of my favorite harpsichord performers but I suspect his straight forward style is more suited to Bach WTC than it was to Scarlatti sonatas where I have heard much of his work.

I actually sold off all his Scarlatti sonata Cds after getting Scott Ross complete boxset and owning multiple Cds by Hantai, Sempe, Staier for instance.....all display a more dramatic imaginative performance style.

FWIW  I also tried and dumped a set of Belder's Scarlatti sonatas - rather "wooden", effortfull and on the dry side.

I do like Belder's Soler sonatas, however, very much so. Sometimes a performer and a composer make a happy connection, sometimes not.

Q

[Antoine Marchand]

... am eagerly anticipating a possible WTC by Rousset...

If Rousset follows the path traced by him in his Klavierbüchlein für Wilhelm Friedemann, that set will be the fastest and furious among all harpsichord versions in existence.

FWIW  I also tried and dumped a set of Belder's Scarlatti sonatas - rather "wooden", effortfull and on the dry side.

I've heard about the half of his Scarlatti integral and my opinion is totally different to yours. I like Belder's stern approach, playing that music as it were great, substantial music  and not merely virtuosistic games (like in Hantaï) or simple folk Spanish tunes. Additionally, the recorded sound and variety of instruments are just superb. BTW, I also own and enjoy Scott Ross here, but the balance is slowly changing towards Belder and I can imagine to me enjoying his discs for several years.

I do like Belder's Soler sonatas, however, very much so. Sometimes a performer and a composer make a happy connection, sometimes not.

I totally agree; Belder plays a fantastic Soler and recently was released the third volume of that series. 

[Bulldog]

But you have to carry them around; I like to travel light.  Boy, that sure sounds lame.  I need to come up with a better reason.  Here it is - if Bach didn't need a cell phone, I don't need one either.  That sucks too.  Oh well, I'll just have to go with being contrary; it's in my nature.

I was reading previous postings on this thread and noticed the above posting and another one where I stated my goal was to be the last remaining adult in the U.S. without a cell phone.

As it happens, I asked for a cellphone for Father's Day and that's just what I got.  Haven't used it for much so far.
Being contrary was getting to be a drag, especially when I'm doing some shopping and need to get some info. from my wife.