Bach on the piano

[prémont]

Sure, fair enough. All of this — the tuning, the choice of instrument from such a wide range of options, and the challenge of finding the right performance approach based on that choice — is what makes me roll my eyes when I hear Angela Hewitt lecture audiences about the greater number of interpretive choices faced by pianists versus harpsichordist. (Did I see you've recently purchased her Bach cycle? I sincerely admire your open-mindedness; for me, there is too much of a negative reaction at the gut level for me to give those recordings a fair chance right now.)

No, I have not yet purchased Hewitt´s Bach cycle, but I consider doing so, depending upon what Antoine, who has ordered it recently, is going to say about it. On the other hand I purchased Ivo Janssen´s Bach cycle a few months ago, and it is a long time since I have heard a pianist playing so stylish (particularily as to phrasing, articulation, voice leading and rhythmic drive) and still using the piano to some advantage - so to say - even if I do not agree with all his choices of dynamics. Well, you can not get everything, when it is about Bach on the piano.

When Hewitt thinks it is more difficult to play Bach on the piano than on the harpsichord, she is wrong. On a harpsichord - due to its much faster action - you must have a much closer "contact" with the instrument, if you want to play in an expressive manner. But maybe she thinks, that the harpsichord is incapable of expression. But this attitude would not prevent me from listening to her piano playing.

[Coopmv]

No, I have not yet purchased Hewitt´s Bach cycle, but I consider doing so, depending upon what Antoine, who has ordered it recently, is going to say about it. On the other hand I purchased Ivo Janssen´s Bach cycle a few months ago, and it is a long time since I have heard a pianist playing so stylish (particularily as to phrasing, articulation, voice leading and rhythmic drive) and still using the piano to some advantage - so to say - even if I do not agree with all his choices of dynamics. Well, you can not get everything, when it is about Bach on the piano.

When Hewitt thinks it is more difficult to play Bach on the piano than on the harpsichord, she is wrong. On a harpsichord - due to its much faster action - you must have a much closer "contact" with the instrument, if you want to play in an expressive manner. But maybe she thinks, that the harpsichord is incapable of expression. But this attitude would not prevent me from listening to her piano playing.

I have owned all of Hewitt's Bach keyboard works for a number of years now - individual sets, not the big box.  IMO, she is one of the best interpreters of Bach keyboard works of her generation.  I basically do not feel her second WTC is necessarily better than her first like some music critics claimed.  But we are all entitled to our opinions ...

[prémont]

I'd say Hewitt's Bach recordings are pretty good, but far from being among the best on piano.

If you should point to a complete - or almost complete - set, whom would you choose?

[Bulldog]

If you should point to a complete - or almost complete - set, whom would you choose?

YOU are in the hunt for a piano set?  Okay, but I'm not aware of any complete set except for the Jansen (haven't heard it).

My favored Bach pianists are Gould, Gulda, Fellner, Tureck, Rangell and Rubsam.

[prémont]

YOU are in the hunt for a piano set?

Well, I own the excellent Janssen-set, and was just wondering if Hewitt´s set might be a reasonable addition. Your words "she is far from being among the best" made me curious as to whom you in the first hand compare her to. Of these Rübsam is my own first favorite. I do not know Fellner´s and Rangell´s Bach. Might think of considering their WTC.

[Bulldog]

Well, I own the excellent Janssen-set, and was just wondering if Hewitt´s set might be a reasonable addition.

I'd say no.  The best Hewitt on record is the Italian Concerto, and that's on an earlier DG Bach recital program. 

[Antoine Marchand]

I'd say no.  The best Hewitt on record is the Italian Concerto, and that's on an earlier DG Bach recital program.

I had understood in the past that you have a high overall opinion of her interpretations. Did I misunderstand your comments?

[SonicMan46]

Well, I own the excellent Janssen-set, and was just wondering............

Well, I'll have to agree w/ Premont on the Ivo Janssen box (in fact, he stimulated my interest & ultimate purchase!) - this is an outstanding accomplishment and recommended for those wanting Bach on the piano; I was amazed at the consistency throughout the numerous discs, and the uniformity of the recorded sound - happy camper for me in that choice - Dave

[Bulldog]

I had understood in the past that you have a high overall opinion of her interpretations. Did I misunderstand your comments?

I do have a high opinion of her, but I don't believe I ever indicated that her Bach was on my top-tier.  Also, concerning complete sets of anything, I don't acquire any unless they are at the top.

[Mandryka]

My favored Bach pianists are Gould, Gulda, Fellner, Tureck, Rangell and Rubsam.

What makes these your favourites?

You're not looking for something as simple as premontesque stylishness.  (Sorry if this sounds like the Spanish Inquisition)

[Mandryka]

I'd say no.  The best Hewitt on record is the Italian Concerto, and that's on an earlier DG Bach recital program.

Yes it's quite unconstrained in the fast movement and melting  in the slow. She wouldn't play Bach in such a virile way now -- she doesn't think it's a good way to play the music.

[prémont]

.... something as simple as premontesque stylishness.

You make this sound too easy. I may rather say, that I do not like interpretations which do not respect the style of the composition in question (the obvious example: Baroque music played in a romantic tradition). But within a given musical style there are thousandths of possible ways of interpretation, all of which still may be called stylish (respecting the style of the composition).

[Mandryka]

You make this sound too easy. I may rather say, that I do not like interpretations which do not respect the style of the composition in question (the obvious example: Baroque music played in a romantic tradition). But within a given musical style there are thousandths of possible ways of interpretation, all of which still may be called stylish (respecting the style of the composition).

I know: you've helped me to see that. But somehow I don't think that Gould and Tureck are going to fit the bill.

[Antoine Marchand]

I do have a high opinion of her, but I don't believe I ever indicated that her Bach was on my top-tier.  Also, concerning complete sets of anything, I don't acquire any unless they are at the top.

I have proofs, Don:

A Stunning New Well-Tempered Clavier, Book 2

Donald Satz wrote (July 17, 1999):
Bach's Well Tempered Clavier is one of the monuments of classical music. It can be approached on many levels: one giant entity, two large books, a series of 48 groupings of preludes and fugues, and ninety six distinct musical pieces. I tend to favor the "96" approach and find the two books to consititute Bach's greatest musical accomplishment. Imagine 96 pieces of music spread over about 4 hours, each piece having its own unique combination of style and emotions conveyed, each piece being a masterful representation of music at its finest.

This is where the new Hewitt recording on Hyperion of Book 2 enters the picture. I listened to it twice last night, and one overriding thought kept popping into my mind; Hewitt perfectly captures the emotions of each prelude and fugue. It's a stunning performance, and I know of none better. Recorded sound is excellent as well - typical Hyperion piano sound.

I just have one little reservation. In the first prelude, I would have preferred a more extensive legato. But, given how superbly Hewitt plays all the other preludes and fugues, this reservation becomes rather trivial.

So, Hewitt, in my opinion, joins Gould, Aldwell, and Martins, in giving us superb/highly distinctive piano readings of Book 2. Although Hewitt gets every emotion right, the one which I think most applies to her interpretation is "exuberant". There's a dance-like element that Hewitt highlights whenever appropriate; I was entranced by it.

Anyway, this was 12 years ago... 

[Bulldog]

I have proofs, Don:

Anyway, this was 12 years ago... 

Right, and I wrote it after two listenings.  I've wised up since then and listen to a recording many times before I shoot my mouth off.
Then again, maybe I'm the Mitt Romney of the board.

[Karl Henning]

Yeah? Let's see the hair!

[SonicMan46]

Right, and I wrote it after two listenings.  I've wised up since then and listen to a recording many times before I shoot my mouth off.
Then again, maybe I'm the Mitt Romney of the board.

Don - LOL!    - reminds me of a radiology maxim that I used a lot when teaching my residents:

Look three times, think twice, speak once!      Dave

[Karl Henning]

That were an excellent guide for posting, too, wot?

[prémont]

I know: you've helped me to see that. But somehow I don't think that Gould and Tureck are going to fit the bill.

Like Walcha and to some degree Wolfgang Rübsam (particularly in his second Bach organ set) they are more or less constituting their own individual style.
So you are more than else left with the question whether you like it or not, since formal considerations do not work sufficiently here.
This is of course the reason, why discussions of their artistry may result in much controversy.

[prémont]

Look three times, think twice, speak once!      Dave

I use to say:

Stir dig ikke så blind på de ting du ser, at du overser de ting du ikke ser.

In English approximately:
Do not become hypnotized that much by the things you see, that you miss the things you do not see.