Bach: Well-Tempered Clavier

[jochanaan]

Of course not, but "not Mozart" hardly invalidates it. Lots of cadenzas are not by the composer of the concerto -- as I'm sure you know...

If we were to play the Mozart (and all other Baroque and Classical-period) concertos with total historical accuracy, we'd expect the soloist to improvise the cadenza on the spot!

[Verena]

I'm thoroughly enjoying this new set of Book I (I certainly hope Book II isn't far behind!):

My first impression is that it in places the interpretation almost sounds like a modern version (in the sense of SOTA sound) of Edwin Fischer's recording  - I have been waiting for such a version for a long time. But I have to listen again. Fischer is still my favorite recording, though.

[stingo]

Did Hantai ever record Book 2?

[Mandryka]

Did Hantai ever record Book 2?

He recorded BWV 880 and 892 on his CD of concertos with Le Concert Français. It's a pair of hantaïesque performances which I very much like.

[Ken B]

Best I can recall, Walcha in stereo on harpsichord, Archiv. Unavailable. His EMI is too harsh.
Worst, Roberts on piano, Nimbus.
Hewitt is best on piano.

[Leo K.]

I was not prepared to be so wowed by the Samual Feinberg WTC set. I've never heard any WTC like this. So many interesting twists and turns of tempo and melodic-structure. It soars, it's so mecurial and grand. WOW. His playing seems to enter another realm, tenuous and celestial.

[milk]

I was not prepared to be so wowed by the Samual Feinberg WTC set. I've never heard any WTC like this. So many interesting twists and turns of tempo and melodic-structure. It soars, it's so mecurial and grand. WOW. His playing seems to enter another realm, tenuous and celestial.

I'm really temped, after reading the MusicWeb review and listening to a sample, by the new Pristine release. It's confusing though because they have worked over the recording in a different way. I'm not sure which is the best option. 

[George]

I'm really temped, after reading the MusicWeb review and listening to a sample, by the new Pristine release. It's confusing though because they have worked over the recording in a different way. I'm not sure which is the best option.

I've yet to hear a Pristine release that didn't sound overly processed.

I adore the Feinberg WTC and this is the best transfer I have found:

[milk]

I've yet to hear a Pristine release that didn't sound overly processed.

I adore the Feinberg WTC and this is the best transfer I have found:

Thanks for the input!

[milk]

I've yet to hear a Pristine release that didn't sound overly processed.

I adore the Feinberg WTC and this is the best transfer I have found:

He is brisk, isn't he.

[George]

He is brisk, isn't he.

All I notice is the beauty.

[Mandryka]

He is brisk, isn't he.

Correct. But the really special thing is the dynamics. He uses dynamic changes to make the music sort of move in waves of loud and soft. It's the dynamic changes which help give his performances a sort of living breathing feeling. I don't think you could do it on a Silberman piano.

[milk]

Correct. But the really special thing is the dynamics. He uses dynamic changes to make the music sort of move in waves of loud and soft. It's the dynamic changes which help give his performances a sort of living breathing feeling. I don't think you could do it on a Silberman piano.

I want to say he reminds me a little of the Demus performances of WTC I saw last year. But it's a vague perception. I felt with Demus that he was really searching out new structures within the music. Feinberg has those surprising moments too. I wonder if the tempo adds to this effect. Someone once commented on GMG that they like the sense that a performance could almost fall apart (I think it was a discussion of organ Bach). I get that in Feinberg sometimes. It's really thrilling in the quick tempo fugues. And in the 874 and 886 preludes I'm enjoying just how colorful and exciting Feinberg is. Yes, loud/soft and his accents...it's almost as if he leaves out a note sometimes - for effect - or that a note will just barely be there. I'm trying to do a little comparison with piano. Turek seems so more baroque somehow (lack of pedal?) - sometimes she's very tightly wound and measured but sometimes she's full of arresting sensitivity and pathos. Why is she like polar opposites? I wouldn't call her thrilling. Crossland just seems sparse to me. I'm not hearing as much dynamic change. Or maybe it's rubato? I don't know. She does less of something I think. Woodward really appeals to me but I'm not sure why. I certainly get a sense of the counterpoint in Woodward. Part of it is the recording: he's got big booming wet bass (this is like porn-writing). But really, Woodward's performance really affects me. But I'm not sure technically what it is in Woodward I'm responding to.     

[Mookalafalas]

Best I can recall, Walcha in stereo on harpsichord, Archiv.

  I just worked my way through this thread.  I had a great time, and played a bunch of book 1s as I read. I had a few, and used torrent to grab some others that came up and sounded exciting. I don't have any new insights, but as the thread has been neglected lately, I'll throw in my 2 cents and see if we can get some flow going again.
     I enjoyed most of what I played, and definitely need to spend more time with quite a few.  Not too long ago I didn't see how I could ever get enthusiastic about the harpsichord (rather than the piano), and now feel close to the opposite. 
   One that really set me back on my heels is the Walcha.  I was expecting something early and formal sounding, but it was fresh, lively, vigorous, and often surprising.  I like the Egarr, Leonhardt, and Van Asperen, and got quite excited about the Wilson and Belder. I'm not that sure about the Van Asperen, but I have some of his other Bach (an OOP harpsichord concertos set on Virgin, among other things) that I love, and these perhaps prejudice me in his favor. 
   On piano I'm crazy about Gulda, who hardly got a mention in the thread, and very little love.  In general I love Schiff's Bach, but for some reason his WTC doesn't do anything for me at all.  Maybe because he's not Gulda.   I will listen to more of the Tureck soon.

[Moonfish]

I have pretty much always been a Tureck fan!    Regardless, I just came across samples by Evelyne Crochet. What do you guys think about her WTC?

Review on MusicWeb

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https://www.youtube.com/v/sFY9mj6m548

[Moonfish]

Crochet - Bach's WTC - Book II

https://www.youtube.com/v/ju6xpqqVZU4

[SonicMan46]

I have pretty much always been a Tureck fan!    Regardless, I just came across samples by Evelyne Crochet. What do you guys think about her WTC?

Review on MusicWeb

Peter - that review is by Don Satz, i.e. 'Sammy' (a.k.a. 'Bulldog') on the forum - maybe he'll 'chime in' - I have about seven versions of these works, 3 each on piano or harpsichord, and one on the clavichord.  My piano versions are Jill Crossland, Roger Woodward, & Ivo Janssen, which don't match any of Don's comparison recordings.  Dave

[Mandryka]

What do you guys think of Crossland?

[SonicMan46]

What do you guys think of Crossland?

Just put in 'Crossland' in the search box of this thread - I got 67 post hits, so already plenty of discussion on her here - Dave

[Moonfish]

Peter - that review is my Don Satz, i.e. 'Sammy' (a.k.a. 'Bulldog') on the forum - maybe he'll 'chime in' - I have about seven versions of these works, 3 each on piano or harpsichord, and one on the clavichord.  My piano versions, i.e. Jill Crossland, Roger Woodward, & Ivo Janssen don't match any of his comparison recordings.  Dave

Thanks Dave!
I generally gravitate towards the "class" renditions (both harpsichord and piano), but always keep my ears perked for other performances. Crochet's version on YouTube sounds very appealing in my ears....