The Art of Fugue

[Mandryka]

It sounds to me as though all the fugues are played by two people, two harpsichords. Presumably he needed it because of all the ornamentation. The effect is quite unique and well worth hearing - very different vibe from Asperen's. Koopman and Mahot are exuberant, virtuoso display.

[prémont]

It sounds to me as though all the fugues are played by two people, two harpsichords. Presumably he needed it because of all the ornamentation. The effect is quite unique and well worth hearing - very different vibe from Asperen's. Koopman and Mahot are exuberant, virtuoso display.

Yes, Koopman plays the canons and the cpt. VIII (which is a piece for three voices) solo. All the pieces for four voices are played by Koopman and Mathot on two harpsichords, each of them playing two voices on each harpsichord. I haven't heard it for ages, but recall it as being relatively solid and sober.

[Mandryka]

Yes, Koopman plays the canons and the cpt. VIII (which is a piece for three voices) solo. All the pieces for four voices are played by Koopman and Mathot on two harpsichords, each of them playing two voices on each harpsichord. I haven't heard it for ages, but recall it as being relatively solid and sober.

It's interesting because when I listened to it last night I looked for reviews on the web and of course found Don Satz. And he said things like "Koopman can't express joy." And yet my response was that it's the really exuberant AoF! And here's you saying it's sober.

Subjectivity everywhere!

I listened to Koopman's Forqueray too - astonishing performances. I thought that he makes the music sound like a baroque counterpart to those 19th century virtuoso concert etudes we never listen to - Liszt's transcendental etudes, things like that. I mean, I don't I want to hear it often, but what Koopman does there is kind of, unforgettable!

[prémont]

It's interesting because when I listened to it last night I looked for reviews on the web and of course found Don Satz. And he said things like "Koopman can't express joy." And yet my response was that it's the really exuberant AoF! And here's you saying it's sober.

Subjectivity everywhere!

I listened to Koopman's Forqueray too - astonishing performances. I thought that he makes the music sound like a baroque counterpart to those 19th century virtuoso concert etudes we never listen to - Liszt's transcendental etudes, things like that. I mean, I don't I want to hear it often, but what Koopman does there is kind of, unforgettable!

But I wrote relatively solid and sober, thinking of Koopman's usual habit to overembellish the music. Should have written relatively sober and solid.

His Forqueray on the other hand I find a bit heavy handed but maybe this makes this music more weighty and substantial.

[milk]

It's a good time for me to go through AOF, to go back through it. It's been a while. The Koopman version is kinetic but the embellishments do tend to distract me. I'm turning to Vartolo now for something very different. He relies on rubato and sometimes the dynamics he gets from the manuals of the instrument he's got. I don't know what it is. Vartolo is gutsy and emotive I think. Whatever it is that mainstream pianists find in Koroliov, I could find in Vartolo. He doesn't play safe, if that's what it is.

[Atriod]

Thoughts on this? A while back I posted about being greatly captivated by Weiss' recording of WTC.

[milk]

My interest in piano versions of the Art of Fugue is relatively small. Despite this I own 35+ piano versions. My preference is towards informed and not too interventionist performers. Some who don't fall victim to the romantic potential of the piano. So some of my favorites are (in casual order):

Hans Petermandl
Walter Riemer
Ron Lepinat
Geoffrey Douglas Madge
Ivo Janssen
Risto Lauriala
Celimene Daudet
Ann-Helena Schlüter

There's a lot to like in Daudet. The recording is very detailed also, meticulous. Some might not like how it's recorded. I appreciate it though. She's another one who doesn't overdo the pianism. I feel like I'm listening to a perfectionist.

[Mandryka]

Thoughts on this? A while back I posted about being greatly captivated by Weiss' recording of WTC.

Sensible HIP.

Good in contrario motu!

I'm not myself convinced he makes it sound alive and fresh and poetic, especially in the dense, fast complicated music.  To me he sounds as though he's trying to stay on meticulously prepared rails.

Interesting organologically,  a nice newly restored previously unrecorded Taskin.

(Sorry, I'm in a mood obviously! Not feeling very generous today.)

[Mandryka]

It's some time since I heard this recording, but I listened to it this afternoon. What is striking in the context of contemporary interpretations is the steady pulse.

[prémont]

It's some time since I heard this recording, but I listened to it this afternoon. What is striking in the context of contemporary interpretations is the steady pulse.

Yes that's true. It was recorded June 1969 which is relatively early in his personal evolution and recording career. Can it be any consolation to you that his earlier AoF recording (Vanguard 1953) is as well as devoid of agogics?

[Mandryka]

Yes that's true. It was recorded June 1969 which is relatively early in his personal evolution and recording career. Can it be any consolation to you that his earlier AoF recording (Vanguard 1953) is as well as devoid of agogics?

It's interesting that Rübsam for Philips doesn't employ such a steady pulse.

[prémont]

It's interesting that Rübsam for Philips doesn't employ such a steady pulse.

I think I shall revisit Rübsam's first AoF, but at the moment I'm concentrating upon Lydia Blank's complete recordings (including her sweet and eloquent AoF).

[Mandryka]

I'm enjoying the organ, a modern organ but rather nice and well recorded. The registrations are surprising - they make you listen.

[atardecer]

I've been listening a lot to Menno Van Delft's Art of Fugue lately on harpsichord. I like it very much though I haven't listened to that many different versions of this work. I've heard Kenneth Gilbert and I also have a recording with Neville Marriner.

[Que]

I've been listening a lot to Menno Van Delft's Art of Fugue lately on harpsichord. I like it very much though I haven't listened to that many different versions of this work. I've heard Kenneth Gilbert and I also have a recording with Neville Marriner.

Van Delft is one of my favourites.  The best in "Dutch", straight forward and well considered style you can get IMO.

Robert Hill (Hänssler) is more flexible, Davitt Moroney (HM) more austere and Bob van Asperen (Aeolus) is just over the top in freedom and ornamentation.

Those are my top picks!

[CelluloidBiker]

It's some time since I heard this recording, but I listened to it this afternoon. What is striking in the context of contemporary interpretations is the steady pulse.

Last week I found a 1974 vinyl pressing of that recording on Harmonia Mundi (this one) in pristine condition for $6(!) at a local record store. I was pleased to find it because I've recently started collecting my favorite Bach keyboard performances on vinyl (which I posted about here). This recording was new to me, though I was aware of its renown.

For context, I heard Leonhardt's WTC a few years ago and didn't love it; I recall being put off by his tendency to slightly extend certain notes for expressive effect, which for me had a momentum-killing effect. So I didn't explore Leonhardt any further after that. Which is to say I did not have the highest expectations for his Art of Fugue, though I was hoping to be proven wrong.

Which, thank God, is exactly what happened. Dropping the needle on these records is like opening the gates to infinity. Impossibly dense, unspeakably beautiful, endlessly replayable (I'm currently on my third spin of the day ). Leonhardt navigates the counterpoint with sublime clarity and, as Mandryka mentioned, the pulse is remarkably steady; it never "drags" for me the way I recall Leonhardt's WTC doing (I need to revisit that recording now; I'm hoping this AoF has "unlocked" Leonhardt for me). And the sonics are perfect; to my ears this is exactly how a harpsichord should sound.

My one minor criticism is that I'm not sure I agree with Leonhardt's decision to move Contrapunctus 4 up to track 2, though he gives a decent rationale for it in the liner notes.

At any rate, this is absolutely my favorite recording of the Art of Fugue now; of the others I've heard, only Helmut Walcha on organ can compete.

Also hi, I'm new here!

[DavidW]

Welcome Celluloid Biker!  I'll have to check out that recording, I love Leonhardt.

[Mandryka]

Some initial, tentative, thoughts about this interesting release. I may have misheard of course!

Rousset seems to play with little or no rubato or ornamentation. He mostly relies on instrumental colour and energy, speed, to enliven the music. The result is more a sequence of exercises in form and virtuosity than expressive poetry.

This seems to work better once you get past the simple fugues at the start.

[prémont]

I was quite underwhelmed by Rousset's as to expressivity restricted approach and don't think I shall return to this recording that often.

[Mandryka]

I was quite underwhelmed by Rousset's as to expressivity restricted approach and don't think I shall return to this recording that often.

I was terribly underwhelmed by the first five cpti. I thought to myself that this is hard work, grey. Things seemed to liven up from the fugue "in Stylo Francese" -- but I too don't think I will return to it often!