BACH The Well-tempered Clavier / Aimard

Share

JOHANN SEBASTIAN BACH

The Well-tempered Clavier
Das Wohltemperierte Clavier
Part / Teil 1, BWV 846-869
Pierre-Laurent Aimard
Int. Release 18 Aug. 2014
2 CDs / Download
0289 479 2784 6 2 CDs DDD GH2


Track List

CD 1: Bach: The Well-Tempered Clavier I

Johann Sebastian Bach (1685 - 1750)
Prelude And Fugue In C (WTK, Book I, No.1), BWV 846

1.
2:18

2.
2:10

Prelude And Fugue In C Minor (WTK, Book I, No.2), BWV 847

3.
1:30

4.
1:46

Prelude And Fugue In C Sharp (WTK, Book, No.3), BWV 848

5.
1:18

6.
2:31

Prelude And Fugue In C Sharp Minor (WTK, Book I, No.4), BWV 849

7.
3:12

8.
3:51

Prelude And Fugue In D (WTK, Book I, No.5), BWV 850

9.
1:12

10.
1:53

Prelude And Fugue In D Minor (WTK, Book I, No.6), BWV 851

11.
1:30

12.
2:05

Prelude And Fugue In E Flat (WTK, Book I, No.7), BWV 852

13.
3:24

14.
1:51

Prelude And Fugue In E Flat Minor / D Sharp Minor (WTK, Book I, No. 8), BWV 853

15.
3:53

16.
5:37

Prelude And Fugue In E (WTK, Book I, No.9), BWV 854

17.
1:19

18.
1:08

Prelude And Fugue In E Minor (WTK, Book I, No.10), BWV 855

19.
2:29

20.
1:34

Prelude And Fugue In F (WTK, Book I, No.11), BWV 856

21.
1:04

22.
1:08

Prelude And Fugue In F Minor (WTK, Book I, No.12), BWV 857

23.
2:16

24.
4:22

Pierre-Laurent Aimard

Total Playing Time 55:21

CD 2: Bach: The Well-Tempered Clavier I

Johann Sebastian Bach (1685 - 1750)
Prelude And Fugue In F Sharp (WTK, Book I, No.13), BWV 858

1.
1:34

2.
1:51

Prelude And Fugue In F Sharp Minor (WTK, Book I, No.14), BWV 859

3.
1:17

4.
3:43

Prelude And Fugue In G (WTK, Book I, No.15), BWV 860

5.
0:54

6.
2:32

Prelude And Fugue In G Minor (WTK, Book I, No.16), BWV 861

7.
2:13

8.
1:42

Prelude And Fugue In A Flat (WTK, Book I, No.17), BWV 862

9.
1:11

10.
1:59

Prelude And Fugue In G Sharp Minor (WTK, Book I, No.18), BWV 863

11.
1:18

12.
2:35

Prelude And Fugue In A (WTK, Book I, No.19), BWV 864

13.
1:15

14.
2:05

Prelude And Fugue In A Minor (WTK, Book I, No.20), BWV 865

15.
1:03

16.
5:10

Prelude And Fugue In B Flat (WTK, Book I, No.21), BWV 866

17.
1:22

18.
1:31

Prelude And Fugue In B Flat Minor (WTK, Book I, No.22), BWV 867

19.
2:21

20.
3:30

Prelude And Fugue In B (WTK, Book I, No.23), BWV 868

21.
1:11

22.
2:08

Prelude And Fugue In B Minor (WTK, Book I, No.24), BWV 869

23.
5:51

24.
6:59

Pierre-Laurent Aimard

Total Playing Time 57:15

. . . [a] brilliant pianist -- one of those daunting Frenchmen clearly born with three brains . . . the C major prelude starts us off, the notes light and limpid, the graceful pace ebbing when Bach's harmonies veer from the straight and narrow . . . Aimard has clearly thought deeply about the collections's kaleidoscopic structure . . . The F sharp minor fugue is a mysterious wonder, as if the music were feeling its way in the dark; the G major prelude sparkles with gaiety . . .

. . . [Bach's Well-Tempered Clavier] represents the absolute pinnacle of keyboard writing . . . there's something hugely satisfying about the complete set . . . Pierre-Laurent Aimard's intelligent, tasteful account of Book One has certainly done a lot to convince me further . . . It's an austere, almost self-effacing performance in which Aimard is ensuring that Bach is the real star. It's also relatively low on overt emotion and rubato -- though by no means mechanical or dead . . . Although the instrument is one of course Bach would never have seen, one gets the impression that this is still Bach played like Bach, so to speak -- and that the great master wouldn't object to the innovation if he heard Aimard's playing . . . he manages to capture on the piano the spirit of a work designed to showcase the harpsichord. If you think you don't like Bach on the piano, I think Aimard may just convert you -- and if you don't have a recording of the Well-Tempered Clavier yet then I can heartily recommend this one as a starting-point for getting to know these beautiful miniatures better.

. . . [eine] sehr besondere Version des systematisch angelegten [Zyklus] . . . [Aimard] zelebriert die 24 Präludien und Fugen des Ersten Buchs auf einem modernen Konzertflügel, hauchzart mit weichem Anschlag, das C-Dur-Präludium schon fast bemerkenswert zurückhaltend. Aimard findet die richtige Balance, Präludien wie Fugen sind voll Energie, nie aber energetisch überladen, nie dramatisch überzogen. Er hat die Polyphonie exakt unter Kontrolle, die einzelnen Stimmen im Gesamtgefüge sind bestens aufeinander abgestimmt. Bei jedem Takt scheint er sich des großzügigen Gefüges dieser architektonisch anmutenden Musik bewusst, trotzdem geht kein einziger Ton unter.