Bach: Well-Tempered Clavier

Started by Bogey, May 06, 2007, 01:26:30 PM

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Geo Dude

I found Watchorn's WTC 1 (my first experience with the WTC 1) a bit heavy, but his WTC 2 is amazing.  I'll need to do some re-listening, of course, but I'm looking forward to seeing how Dantone's WTC 1 compares.

Leo K.

Quote from: Geo Dude on February 08, 2012, 02:54:54 AM
I found Watchorn's WTC 1 (my first experience with the WTC 1) a bit heavy, but his WTC 2 is amazing.  I'll need to do some re-listening, of course, but I'm looking forward to seeing how Dantone's WTC 1 compares.

I also find Watchorn's WTC 1 a little heavy, but I keep hearing how amazing his WTC 2 is, that may be my next purchase, the samples do sound good too.

Geo Dude

Quote from: Leo K on February 08, 2012, 05:00:26 AM
I also find Watchorn's WTC 1 a little heavy, but I keep hearing how amazing his WTC 2 is, that may be my next purchase, the samples do sound good too.

It seems we may have similar tastes, then.  In any case, I've only listened to one disc of the WTC 2 thus far, but it has been jaw-dropping.  I will also say that my concern with dragging tempos and ponderousness which resulted from the fact that it's a three disc set has been proven false.  He hits the fast lane when he feels it's necessary.

Bulldog

I just read a Fanfare review of Bach's WTC performed by harpsichordist Edith Picht-Axenfeld.  The reviewer is Christopher Brodersen, and the following comment struck me as pretty stupid:

"I'm always a bit puzzled why harpsichordists should choose to record this music, since (a) there are already a gazillion versions in the catalog, and (b) Bach probably never intended his pedagogical monument for public performance in the first place."

Seems reasonable to me that harpsichordists love to record the WTC because it's the greatest solo harpsichord music ever composed.

Karl Henning

You're right, Don: Broderson's remark is indefensibly stupid.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Geo Dude

Upon reading that comment I immediately have to wonder if the reviewer feels that pianists shouldn't bother recording it, either.  After all, there are far more piano recordings out there than harpsichord recordings.  Forgive me if I presume too much here, but something about that statement causes me to read it as 'I don't like harpsichord recordings.'

Bulldog

Quote from: Geo Dude on February 08, 2012, 10:31:58 AM
Upon reading that comment I immediately have to wonder if the reviewer feels that pianists shouldn't bother recording it, either.  After all, there are far more piano recordings out there than harpsichord recordings.  Forgive me if I presume too much here, but something about that statement causes me to read it as 'I don't like harpsichord recordings.'

I was thinking the same thing.  However, I read a few more Bach harpsichord reviews by Brodersen where that type of bias doesn't seem to exist.

So, I end up just feeling that he made a stupid comment that he'd probably like to take back (like the many that Mitt Romney has made).

Karl Henning

Quote from: Bulldog on February 08, 2012, 10:47:03 AM
(like the many that Mitt Romney has made).

And will continue to make . . . .
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

milk

Quote from: Geo Dude on February 08, 2012, 10:31:58 AM
Upon reading that comment I immediately have to wonder if the reviewer feels that pianists shouldn't bother recording it, either.  After all, there are far more piano recordings out there than harpsichord recordings.  Forgive me if I presume too much here, but something about that statement causes me to read it as 'I don't like harpsichord recordings.'
Maybe Brodersen only cares about middle-class harpsichordists.

kishnevi

Please be fair to Romney.  AFAIK, he's never said anything so superlatively stupid  as Brodersen's comment.

Opus106

Quote from: Bulldog on February 08, 2012, 10:12:39 AM
I just read a Fanfare review of Bach's WTC performed by harpsichordist Edith Picht-Axenfeld.  The reviewer is Christopher Brodersen, and the following comment struck me as pretty stupid:

"I'm always a bit puzzled why harpsichordists should choose to record this music, since (a) there are already a gazillion versions in the catalog, and (b) Bach probably never intended his pedagogical monument for public performance in the first place."

Seems reasonable to me that harpsichordists love to record the WTC because it's the greatest solo harpsichord music ever composed.

Why did he choose to (or not opt out of trying) to review it is beyond me! Even if Bach did not intend this to be performed in the typical sense of the word, doesn't the fact that he [Mr. Broderson] is reviewing a performance lend some credence to the 'musicality' of the work? And if he denies this, then on what basis does he generally review the work??  ???

[All right... I know, I know, this is all obvious, but I just had to get it out.  0:)]


P.S.: Please don't bring politics in here. Otherwise, I will tell on those who do to Uncle Que$:)
Regards,
Navneeth

PaulSC

Quote from: Bulldog on February 08, 2012, 10:12:39 AM
I just read a Fanfare review of Bach's WTC performed by harpsichordist Edith Picht-Axenfeld.  The reviewer is Christopher Brodersen, and the following comment struck me as pretty stupid:

"I'm always a bit puzzled why harpsichordists should choose to record this music, since (a) there are already a gazillion versions in the catalog, and (b) Bach probably never intended his pedagogical monument for public performance in the first place."

Seems reasonable to me that harpsichordists love to record the WTC because it's the greatest solo harpsichord music ever composed.

Not to beat a dead horse, but is it really true that "there are already a gazillion versions in the catalog"? Maybe there are more than I realize, but I can't think of more than maybe a dozen WTC recordings on harpsichord that are still in production.
Musik ist ein unerschöpfliches Meer. — Joseph Riepel

Geo Dude

Quote from: PaulSC on February 19, 2012, 09:45:01 AM
Not to beat a dead horse, but is it really true that "there are already a gazillion versions in the catalog"? Maybe there are more than I realize, but I can't think of more than maybe a dozen WTC recordings on harpsichord that are still in production.

I'm guessing that the reviewer was speaking of a gazillion piano recordings.  That's the only semi-logical way one can interpret it, and it's still ridiculous.  Sure, there are many recordings of the WTC on a different instrument, so why would harpsichordists bother with it? ::)

Geo Dude

Quote from: Bulldog on June 26, 2011, 12:45:49 PM
Sorry, I don't have any update to offer.  However, I am very interested in Bk. 1 performed by Rebecca Pechefsky on the Quill Classics label.  Has anyone heard this set?

I listened to the first disc of this set earlier today.  Based on that preliminary listen, I would say it's very...relaxed.  Too much for my tastes.  Tempos are moderate to a fault.  The best way I can think of to put it is that it sounds like Egarr on depressants.

Leo K.

Has anyone heard Martin Stadtfeld? And what to they think?


Coopmv

Quote from: Scion7 on February 27, 2012, 12:36:23 AM
Leonhardt's on ProArte.



Did Leonhardt actually record for Pro-Arte or is this some re-issue?

Coopmv

Quote from: Scion7 on March 06, 2012, 05:23:44 PM
The back of the informative 12-page note-insert that came with the set states it was recorded June 1969, and that it is copyrighted by Deutsche-Harmonia Mundi, and licensed under agreement with them.

This issue is from 1981.

So the now defunct Pro-Arte was like BC.  I have Leonhardt's Goldberg Variations on Pro-Arte as well ...

Scion7

#937
And I must have not been paying attention because my stupid first post is in the WRONG TOPIC - should have been under the Art of Fugue thread.

Crimeny!

removed and posted where it belongs
When, a few months before his death, Rachmaninov lamented that he no longer had the "strength and fire" to compose, friends reminded him of the Symphonic Dances, so charged with fire and strength. "Yes," he admitted. "I don't know how that happened. That was probably my last flicker."

Bulldog

Quote from: Leo K on March 05, 2012, 03:47:27 PM
Has anyone heard Martin Stadtfeld? And what to they think?



So far, I like the set.  Stadtfeld displays plenty of exuberance when needed as well as a very dark character in the slow and remorseful pieces.  Nothing eccentric goes on, although the very quick last prelude/fugue set did surprise me, especially the "power-up" fugue performance.

Just two negatives from my end.  I would have liked stronger accenting in the fast pieces; some of the "runs" are not well detailed.  As usual with me, I found the sound rather wet; the Prelude in C major was dripping with moisture.

Opus106

Quote from: Bulldog on March 06, 2012, 08:39:20 PM
As usual with me, I found the sound rather wet; the Prelude in C major was dripping with moisture.

There are wet piano recordings too?
Regards,
Navneeth