The Keyboard Music of Bach

I really would like Asperen to record the WTC again - preferably on the same instrument (the Zell).

His version of the wtc (it dates from 20? years back) is rather good but his recent records make me think he would be able to do wonderful things now...

 

[Yawn] When many renaissance masterpieces are still unrecorded,
the last thing world needs is 1000th recording of WTC.

It's not that good.

 

Dear Bat: what is not that good? Asperen's version or the WTC?

 

WTC, I guess... Man, it's hard to be objective... but I think I have succeeded. That's why my opinions are very very objective, almost free of any subjective bias that colors most opinions.

 

Any reactions to Richard Egarr's version of the WTC I?
I like the idea of long phrases flowing, but find it perhaps a little overdone. The harpsichord is a marvel and very well recorded.

 

Oh, I did not see this post before answering the same question in the "what's playing today" thread.

 

Hi pe-zulu

I find his reading interesting. He tries to phrase to music into long gestures, which I like, and several pieces are very dramatic (the c minor prelude, for instance). His technique is fabulous...

But I am still digesting the whole.

For now it seems that I like it, but I do not love it.

Best greetings

 

But I think he has misunderstood Bach's "cantabile demand" in the praface to the Inventions, a demand which long enough has served as an excuse for romantic keyboard players of every kind to play long stretches of unbroken legato in Bach's music. Now (as you know) I prefer to compare Bach's music to speach, but even if one compares it to song, you can not sing in the way Egarr plays, as you have to articulate the sylables, unless you generally want to vocalise the music, which I find rather inarticulate and consequently inexpressive.

What I find more interesting in Egarr's playing is his rhytmic rubato, even I often find it a bit contrieved. But this is not sufficient to sustain my interest for that long.

Best regards,

 

I bought Andras Schiff's bargain priced boxed set. What a joy.
Then I loaned Egarr's new Brandenburgs. Boring. Maybe I just I don't like Brandenburg concertos. Somehow they are too stupid, too simplistic, full of gestures that are obviously meant to please a duke or something.

I think someone made a recording of Busoni transcriptions of Brandenburg concertos.
I heard that - not my cup of tea.

I know Schiff's Bosendorfer is not a period instrument but he is good. I used to think his nuance filled style is too romantic for Bach but his records are worth exploring.

So are Andrei Gavrilov's Bach recordings, again on piano. He plays (French suites) one movement very slowly, the next one in Gould-like staccato, the next one very slowly, then again in staccato etc. etc. It works!

 

On the whole, I think we agree. He overdoes it, and often in the wrong places. It does seem a bit contrived, but the harpsichord is so beautiful (imo, of course) and so well recorded that I like to listen to it. I totally agree that Egarr misses the cantabile style. That kind of emphasis would perhaps work with Buxtehude's music, not with Bach's.

 

The Brandenburgs are fine, but perhaps we listened to them too often. The 4th is a very fine piece, the 6th is a jewel. The fifth has the incredible cadence and the first has a lot of funny sounds by the horns... The 2nd I could never understand because the flute and the trumpet cannot possibly mingle well. The 3rd is an incredible feat of merry music making (a bit too much, perhaps). The 4th is perhaps my favourite, but then it has a fugue in it...

 

I am exploring two AoF's on piano, by Pierre-Laurent Aimard and Zoltan Kocsis.
Has anyone heard these?

 

AoF

Yes, I know both these.

Aimard begins well with the first Contrapuncti, but when the counterpoint gets more dense and complicated, he soon becomes hectic and tiring to listen to, due to his bad habit of hammering every thematic part out.

Kocsis did not do anything for me at all. I find him cold and clinical, so I have parted with his set.

 

Things may change but so far I find Kocsis spectacular. It just flows.
Have you heard Troeger's clavichord version too?

 

Yes, and his playing is authoritative and transparent with sufficient cunulative expression when needed, but never overstated. And it is beautifully recorded.

Organological questions aside I very much prefer his version to Aimard's and Kocsis'.

 

I must say I am growing more and more annoyed by piano renderings of Bach's fugues. The modern piano is good for Brahms and Rachmaninov music. It even does not completely suit Mozart's and even Beethoven's music.

What is more, pianists introduce all sorts of frivolities and off-spirit moods when playing Bach.

 

Same feelings about this subject here.
When I was younger, I had to get accustomed to the sound of some of the older instruments, but nowadays I really prefer them in 18th century (or earlier) keyboard music.

 

Oh no. The notoriuos "it is a crime to play bach on piano" argument.
I'm scared!

Well, let's have some facts for a change:

Fact 1: My opinions are more reliable than yours.
Why? Because of Fact 2.

Fact 2: I happen to have THE BEST POSSIBLE TASTE.

 

The benefits of growing older

 

That explains why you like me :MILD: