Bach - The Well-Tempered Clavier Book 1 & 2 / NEW MASTERING (Century's recording: Edwin Fischer)

[@classicalmusicreference]

Album available // Bach: The Well-Tempered Clavier, Books 1 & 2 by Edwin Fischer 🎧 Qobuz (Hi-Res) cutt.ly/2w40TTuT Tidal (Hi-Res) cutt.ly/gw40T9X2 🎧 Apple Music (Lossless) apple.co/3r3BSAw Deezer (Hi-Fi) cutt.ly/4w40Ygi8 🎧 Amazon Music (Hi-Res) amzn.to/3HLFBbs Spotify (mp3) spoti.fi/3TMgc8Q 🎧 Soundcloud (aac) cutt.ly/aw40IZTp KZbin Music (mp4) cutt.ly/5w40I2pD 🎧 Napster, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic, Awa 日本… Johann Sebastian Bach (1685-1750) The Well-Tempered Clavier by Edwin Fischer / NEW MASTERING. Click to activate the English subtitles for the presentation (00:00-06:37) The Well-Tempered Clavier, Book 1 BWV 846-869 Prelude & Fugue #1 In C/C-dur/Ut Majeur, BWV 846 (00:00) ; (01:25) Prelude & Fugue #2 In C Minor/c-moll/Ut mineur, BWV 847 (03:10) ; (04:27) Prelude & Fugue #3 In C Sharp/Cis-dur/Ut dièse Majeur, BWV 848 (06:12) ; (07:34) Prelude & Fugue #4 In C Sharp Minor/cis-moll/Ut dièse mineur, BWV 849 (09:49) ; (12:39) Prelude & Fugue #5 In D/D-dur/Ré Majeur, BWV 850 (17:16) ; (18:24) Prelude & Fugue #6 In D Minor/d-moll/Ré mineur, BWV 851 (20:16) ; (21:42) Prelude & Fugue #7 In E Flat/Es-dur/Mi bémol Majeur, BWV 852 (23:54) ; (27:34) Prelude & Fugue #8 In E Flat Minor/es-moll/Mi bémol mineur, BWV 853 (29:16) ; (32:40) Prelude & Fugue #9 In E/E-dur/Mi Majeur, BWV 854 (38:11) ; (39:16) Prelude & Fugue #10 In E Minor/e-moll/Mi mineur, BWV 855 (40:20) ; (42:23) Prelude & Fugue #11 In F/F-dur/Fa Majeur, BWV 856 (43:28) ; (44:17) Prelude & Fugue #12 In F Minor/f-moll/Fa mineur, BWV 857 (45:42) ; (47:19) Prelude & Fugue #13 In F Sharp/Fis-dur/Fa dièse Majeur, BWV 858 (51:55) ; (52:53) Prelude & Fugue #14 In F Sharp Minor/fis-moll/Fa dièse mineur, BWV 859 (54:49) ; (55:42) Prelude & Fugue #15 In G/G-dur/Sol Majeur, BWV 860 (59:34) ; (1:00:21) Prelude & Fugue #16 In G Minor/g-moll/Sol mineur, BWV 861 (1:02:53) ; (1:05:07) Prelude & Fugue #17 In A Flat/As-dur/La bémol Majeur, BWV 862 (1:07:10) ; (1:08:43) Prelude & Fugue #18 In G Sharp Minor/gis-moll/Sol dièse mineur, BWV 863 (1:10:51) ; (1:12:26) Prelude & Fugue #19 In A/A-dur/La Majeur, BWV 864 (1:15:42) ; (1:16:50) Prelude & Fugue #20 In A Minor/a-moll/La mineur, BWV 865 (1:19:36) ; (1:20:32) Prelude & Fugue #21 In B Flat/B-dur/Si bémol Majeur, BWV 866 (1:25:24) ; (1:26:23) Prelude & Fugue #22 In B Flat Minor/b-moll/Si bémol mineur, BWV 867 (1:27:55) ; (1:31:12) Prelude & Fugue #23 In B/H-dur/Si Majeur, BWV 868 (1:34:36) ; (1:35:51) Prelude & Fugue #24 In B Minor/h-moll/Si mineur, BWV 869 (1:38:27) ; (1:41:19) - The Well-Tempered Clavier, Book 2 BWV 870-893 Prelude & Fugue #1 In C/C-dur/Ut Majeur, BWV 870 (1:47:40) ; (1:50:01) Prelude & Fugue #2 In C Minor/c-moll/Ut mineur, BWV 871 (1:51:46) ; (1:53:59) Prelude & Fugue #3 In C Sharp/cis-moll/Ut dièse, BWV 872 (1:56:16) ; (1:58:28) Prelude & Fugue #4 In C Sharp Minor/cis-moll/Ut dièse mineur, BWV 873 (2:00:45) ; (2:05:23) Prelude & Fugue #5 In D/D-dur/Ré Majeur, BWV 874 (2:07:26) ; (2:10:41) Prelude & Fugue #6 In D Minor/d-moll/Ré mineur, BWV 875 (2:14:21) ; (2:15:40) Prelude & Fugue #7 In E Flat/Es-dur/Mi bémol Majeur, BWV 876 (2:17:08) ; (2:19:05) Prelude & Fugue #8 In D Sharp Minor/dis-moll/Ré dièse mineur, BWV 877 (2:21:39) ; (2:23:56) Prelude & Fugue #9 In E/E-dur/Mi Majeur, BWV 878 (2:27:54) ; (2:31:32) Prelude & Fugue #10 In E Minor/e-moll/Mi mineur, BWV 879 (2:35:09) ; (2:38:28) Prelude & Fugue #11 In F/F-dur/Fa Majeur, BWV 880 (2:41:15) ; (2:43:51) Prelude & Fugue #12 In F Minor/f-moll/Fa mineur, BWV 881 (2:45:37) ; (2:48:07) Prelude & Fugue #13 In F Sharp/Fis-dur/Fa dièse Majeur, BWV 882 (2:50:21) ; (2:53:09) Prelude & Fugue #14 In F Sharp Minor/fis-moll/Fa dièse mineur, BWV 883 (2:56:09) ; (2:58:46) Prelude & Fugue #15 In G/G-dur/Sol Majeur, BWV 884 (3:03:29) ; (3:05:24) Prelude & Fugue #16 In G Minor/g-moll/Sol mineur, BWV 885 (3:06:38) ; (3:09:27) Prelude & Fugue #17 In A Flat/As-dur/La bémol Majeur, BWV 886 (3:12:26) ; (3:16:17) Prelude & Fugue #18 In G Sharp Minor/gis-moll/Sol dièse mineur, BWV 887 (3:19:29 ; (3:21:56) Prelude & Fugue #19 In A/A-dur/La Majeur, BWV 888 (3:27:27) ; (3:29:01) Prelude & Fugue #20 In A Minor/a-moll/La mineur, BWV 889 (3:30:18) ; (3:32:23) Prelude & Fugue #21 In B Flat/B-dur/Si bémol Majeur, BWV 890 (3:34:14) ; (3:37:28) Prelude & Fugue #22 In B Flat Minor/b-moll/Si bémol mineur, BWV 891 (3:40:03) ; (3:42:52) Prelude & Fugue #23 In B/H-dur/Si Majeur, BWV 892 (3:48:40) ; (3:50:05) Prelude & Fugue #24 In B Minor/h-moll/Si mineur, BWV 893 (3:53:33) ; (3:55:50) Piano : Edwin Fischer Recorded in 1933-36, at London New mastering in 2021 by AB for CM//RR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Look at the eyes of this child. There is a presence in that look and a sensitivity that touches us. It announces a great soul, a great musician and, indeed, Edwin Fischer's well-tempered keyboard is the most poetic interpretation we have heard. The complete Well-Tempered Clavier, recorded between 1933 and 1936, was a milestone in Bach's discography as the first complete recording. Fischer's recording is admired in part because he does not use the resources of the modern instrument to artificially embellish the score. His recording of Bach's remains the model against which all pianists have measured themselves. Johann Sebastian Bach PLAYLIST (reference recordings) : kzbin.info/www/bejne/a3_TkmZ9bp2LotE

[@jorgeurzuaurzua4011]

Edwin Fischer was a well known and respected pianist during the first half of the XXth century..He was a student oof Martin Krause, who was also the professor of Arrau and a symbol of the old classical German school. Fischer was respected as a Bach keyboard interpreter, as well as Mozart, Beethoven and Schubert. His rendering of the WTC is impressive. It was the first integral recording of the monumental bBach work. His personality shines through the music, that is highly personal, at times fast, at times slower, with traces of romanticism. An historic recording in the strict sense of the word. A bright and classical score, a really referential recording. Thanks Classical Music for this jewel.

[@hellbooks3024]

Krause studied with Liszt. Liszt with Czerny. Czerny with Beethoven. So if you studied with a student of Fischer, say Niels Ostbye, you would have six degrees of separation from LVB. Small world.

[@jorgeurzuaurzua4011]

@@hellbooks3024 Thanks for your timely comment.

[@tagaudi]

@@hellbooks3024 This is how traditions are descended. After all what are they? Ideas, or bunches of ideas. Like this music. And some people pick it up and take it a long way and then pass it to others, and so it goes...

[@IvanGreindl]

Une *interprétation exceptionnelle* en effet, qu'on peut qualifier d'historique : aucun artifice, mais une grande sensibilité et une sobriété exceptionnelle. Merci pour ce somptueux partage. E. Fischer était vraiment un immense artiste.

[@notaire2]

Wunderschöne und lebhafte Interpretation dieser ewigen und perfekt komponierten Meisterwerke im relativ schnellen Tempo mit klar artikuliertem doch etwas anmutigem Anschlag und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als originale Aufnahmen von mehr als achtzig Jahren vor. Wahrlich intelligenter und unvergleichlicher Pianist!

[@darylnoble5711]

This is such a delightful discovery for me, after years of being impressed by Gould, Mr Fischer’s performance has a great balance of reverence and highly personal introspection, with an unforced sense of tempi with a dash of romanticism that JSB would enjoy

[@user-fu6tt8qq4v]

아름다운 피아노 연주곡 잘 들었습니다~감사합니다~🎵🎹🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕

[@jeffsmith1798]

These interpretations are beautiful. Each one really captures a unique feeling. As I listened to this wonderful collection, it dawned on me why Bach used the Prelude-Fugue combination. This structure is like a form of meditation with the prelude setting the sentiment. Fischer’s performance really calls this out. Also, the mastering on this recording is outstanding!

[@arina5919]

Фишер - один из лучших исполнителей Баха. Спасибо! И за прекрасный ваш канал благодарю

[@Navoi7]

Grateful for your commitment to sharing Bach with the world. This recording is awesome!

[@louisebeaudry4183]

Just discovered this pianist on KZbin! This is extraordinary! It is like Bach himself !

[@tomamanojlovic6630]

These old masters are quite beyond compare. What he does here - and the same goes to Feinberg's rendition - will never be equalled, let alone surpassed.

[@akikoyanagisawa3916]

His playing is profound and spiritual.

[@classicalmusicreference]

Look at the eyes of this child. There is a presence in that look and a sensitivity that touches us. It announces a great soul, a great musician and, indeed, Edwin Fischer's well-tempered keyboard is the most poetic interpretation we have heard. The complete Well-Tempered Clavier, recorded between 1933 and 1936, was a milestone in Bach's discography as the first complete recording. Fischer's recording is admired in part because he does not use the resources of the modern instrument to artificially embellish the score. His recording of Bach's remains the model against which all pianists have measured themselves. Click to activate the English subtitles for the complete presentation (00:00-06:37) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr

[@saidtoshimaru1832]

Maybe he was just suffering because of those horrible clothes and hairctus children were forced to go through.

[@classicalmusicreference]

@@saidtoshimaru1832 It is not the same time my friend, it is a man of the 19th century, contemporary of Brahms, imagine! And the culture of that time and education was far superior to what we can observe globally today.

[@saidtoshimaru1832]

@@classicalmusicreference I was joking.

[@waterkingdavid]

@@saidtoshimaru1832 please no jokes here! This is serious stuff!

[@saidtoshimaru1832]

@@waterkingdavid Oh, come on!!!

[@ursulahermsdorf2393]

Perfekte Interpretation 👌❤️

[@brittopiano]

Thanks for this! Edwin Fischer is professor of Sebastian Benda, with was professor of many pianists in University Federal Of Bahia in the midlle 1950.

[@canman5060]

Edwin Fischer is also professor of Alfred Brendel and also many other professors.

[@joseluizfrancis-cresciment6747]

Ele viveu um período aqui no Brasil?

[@brittopiano]

Never heard about anything related.

[@jeansauter5222]

Unglaublich was Fischer in de Jahren 30 schon für ein Tempo spielt! Bin echt beeindruckt! Danke für das Musikdokument

[@55archduke]

Thanks for. the wonderful gift you've given us by publishing this

[@classicalmusicreference]

:)

[@susanmaddison5947]

A classic in itself. Only Shamuil Feinberg's recording has comparable stature. There have been many recordings of the WTC since, but if some of them have seen farther, it is because - in Sir Isaac Newton's metaphor - they stand on the shoulders of Fischer and Feinberg.

[@Don-md6wn]

Blah blah blah from the self appointed gatekeepers of classical music.

[@classicalmusic2185]

@@Don-md6wn actually the gatekeeps are people like Izaak perlaman, hillary hahn, ray chen, yoyo ma, etc. but I see your point the comment does come off as elitist.

[@pakshunlee1472]

I'm only halfway through with Edwin Fischer WTC even though I am familiar with his playing. His best known pupil I believe is Alfred Brendel. Yes, Samuil Feinberg's WTC is definitive which is agreed by a whole lot of serious pianists. But Horzowski and Maria Yudina are also interesting. But there seems not much connection between them: they belong approximately to the same age each with a different tradition, and each of a more or less the same stature, and, of course, it's a completely different story in music industry's propaganda.

[@piotrijolantagaosz3688]

Można tego słuchać bez końca...

[@davetubervid]

This is extraordinary playing. Fischer really brings the WTC to life for me. What a discovery!

[@joshuayeidel8607]

Thank you fort the complete playlist. It is so helpful in getting the full benefit from this recording.

[@ralphoperaphile]

Remarkably good sound for its age thanks to your remastering; many thanks. He really does out-Gould Gould for speed in some movements but his technical facility is astonishing - even if, like Schnabel, he could make slips. My music-loving friends and I call him "The Lion's Paw" - for obvious reasons...

[@markkumollari]

Excellent mastering - and interesting text running in video part: thanks!

[@dejanstevanic5408]

Wow! The first of them all. Thank you.

[@classicalmusicreference]

:)

[@Guarniz]

This is an extraordinary recording that remind us that not only gould playa bach as the angels

[@edouardbaertschi65]

Julie un ki ki va nu jemmn le nb i un il ll kmimumumu ll

[@hellbooks3024]

Lots of ways to pray to God, lots of ways to play Bach.

[@louisebeaudry4183]

Just diuscovered ths pianist on KZbin. This is extraordinary interpretation of Bach. Thank you for providing this to all to discover and enjoy!

[@classicalmusicreference]

Welcome, you will discover many beautiful things :)

[@michaels7889]

This is my preferred approach to playing the Bach string sonatas and suites. Very unfashionable, which annoys my partner, but it gives so much pleasure to give Bach's music such dancing vitality. It is most enjoyable to have this beautiful remastering.

[@michaels7889]

Forgot to say that I enjoyed your introduction very much.

[@PM_ME_MESSIAEN_PICS]

is your partner an HIP purist

[@tuberobotto]

My first time hearing this pianist though it seems that his name gets mentioned among the well acclaimed pianists of his day. This is an excellent recording and the performance is quite remarkable. His sensibility as a musician and as a pianist puts a lot of character to the Bach pieces in that they don't bore you or dull your ears after sometime, as it normally does if one listens to a set of pieces on queue IF played like an obligatory recital in a music course. Mr Fisher did a truly notable and remarkable thing in this respect. (I guess now I have to retire Glenn Gould's recording of the same set of pieces).

[@classicalmusicreference]

Thank you for your comment. But keep Glenn Gould, it's a version to have too :)

[@sasha42196]

His b-flat prelude from WTCI brought tears to my eyes - profoundly wise.

[@bosomgirdle]

It seems that we get about one true pianistic genius every 50 years or so: Liszt, Fischer, Gould, all at a level so high that it leaves one somehow better after experiencing it. Fischer was best -- intense, sweet, powerful, deep without being eccentric, approachable and kind -- all at the same time.

[@mimipinsonful]

C'est un grand plaisir d'écouter cet enregistrement, Merci

[@theodosios2615]

This is incredible playing. Thanks so much for uploading.

[@slayerbabe474]

Absolutely beautiful!

[@gabrielchaumont7183]

MERCI. Je n'avais pas cet enregistrement.Beau humble sans effet avec coeur....Merci

[@fonderromainpiano5959]

Jamais surpassé. Égalé peut être (Gould, Richter), mais surpassé, certainement pas. Sublime, vraiment sublime. Mon interprétation préférée du clavier bien tempéré.

[@jean-marcvivier7187]

Un immense MERCI

[@karlportland3280]

Fischer is much under-appreciated, and his ability to coax just the right timbre as needed from the piano was unexcelled. Not even Rachmananinov, Gieseking, Hofmann, Lhévinne, or Rubinstein could match him in this regard, and that’s saying a lot. It was, in large part, his mastery over this ability that made his Bach so superior to everyone else’s, even to the present day.

[@goognamgoognw6637]

I like those pictures as an innocent toddler. I wish children today lived in a environment where they could still grow up with that kind of innocence and not be exposed to mass hate coming from the degenerate media.

[@user-on5lb9ew9x]

Thank you for the great music !!!

[@gildadimarco2462]

Un documento di eccezionale valore. Ma la fuga in do diesis minore è una "dimensione ctonia" che mi fa paura! E' un Mondo popolato da ossessioni... L'inconscio lotta con la dimensione reale,quella della ragione, e forse alla fine vince su questa mentre afferma la sua indiscutibile potenza, avvolgendo di " ineluttabile " la cadenza e quel meraviglioso accordo di do diesis, speranza e sostanza di tutto il brano.

[@papagenoharto]

In my modest opinion, very fast. I adore thits work by Bach. Testimonial value no doubts. Glenn Gould......

[@Cycle-Tourer]

Indeed tooooo fast. Not my favorite either. And cold hollow sound......

[@robertbresson68]

Once had the honour to talk with the great pianist Vladimir Ashkenazy on my cell phone regarding a radio broadcast of his regarding his list of great pianists. It included Richter, Serkin, Perahia, and Barenboim. I asked why not Fischer and Schnabel? His response was that " they distort the music."

[@RJ986S]

Wow, great remastering. This is absolutely amazing sound for recordings made in the 1930's! Exquisitely warm, reverential, and introspective approach by Mr. Fischer. Sounds like a Steinway piano. Can anyone confirm? Many thanks. Adding to my 'Qobuz to-buy list'. 🎼🎹🙂

[@catherineschickel2792]

QUE DU BONHEUR Merci Jean Sébastien Bach . 🌼🌼🌼🌹🌼🌼🌹🌼🌹🌹🌹🌹🌹

[@not2tees]

I like his use of the octaves, because in many ways, this is THE power composer - J. S. Bach. You could arrange some of the little preludes or fugues for full orchestra, for that matter.

[@cossa04]

Thank you, thank you, thank you.

[@juandomingoibarra2069]

una hermosura.Me puse a escuchar semejante maravilla

[@jshaers96]

One difference with Gould's approach is that Fischer has a more consistent view, whereas Gould was more uneven and sometimes played the preludes so fast that you can tell he wasn't all that enthused and just wanted to get to the fugue.

[@timmotion6494]

On the contrary, although Edwin Fischer is a brilliant interpreter, I think the first Prelude here is too fast, almost as if he is 'trying it out' at that speed; also I feel the accent within each phrase does not help the forward movement of the piece. Gould expresses this forward energy, even though he toys with the time.

[@markhedman1884]

Andras Schiff in an interview said he especially admired the playing of the WTC by Edwin Fischer, commending its spirituality. But Schiff also said in a different part of the interview that he did not play Bach with pedal, and disapproved of constant legato and gobs of pedaling. However, this to my ears is how Fischer plays it. It sounds also like how adds octaves to the bass line. This kind of playing would probably not be permitted students today. I respect Schiff's opinion and perhaps he can draw from it without adopting the style of playing.

[@hebrewworshipsongs9177]

Amen and praise the Lord

[@jean-marcvivier7187]

Extraordinaire . Transcendant

[@ThePianoFiles]

Thank you for this!

[@classicalmusicreference]

You are also doing a great job :)

[@jonathanclemens4660]

Fantastic! Thanks!

[@Sofronichrist]

Fischer est un grand maître, c’est incontestable. Ce clavier témoigne d’une grande musicalité, quasi inégalée, même par des pianistes tels que Feinberg, Gulda, Gould, Richter ou Yudina. Cependant j’ai un léger problème avec ce mastering. Je commence par dire qu’il est évidemment meilleur que ceux parus jusqu’à présent chez EMI ou Naxos - qui étaient, disons-le, assez mauvais en vérité - mais auquel il manque encore quelque chose. Je m’adresse à vous car j’ai cru comprendre que vous faites vous même numériquement vos masterings. Ici, les basses sont très belles, mais j’ai comme l’impression que vous avez filtré les grésillements du 78 tour, perdant ainsi des fréquences aiguës. J’en déduis que vous avez tenté de recréer artificiellement les aiguës, et pour moi c’est sur ces mêmes aiguës que ça pêche. En effet, nous avons comme l’impression d’une pédale constate, ce qui n’est pas le jeu de Fischer - il manque donc des dynamiques. Je vous remercie malgré cette critique d’avoir réédité ce chef d’œuvre dans une version enfin « écoutable » sur KZbin, car jusqu’à présent aucune version ne rendait même un peu justice au jeu de Fischer. Bien à vous, G.C.

[@classicalmusicreference]

Remarque pertinente. Le problème auquel nous avons dû faire face sur cet enregistrement vient du haut médium et des aigus. Ils étaient plus nasillards que brillants et nous cassaient les oreilles sur une écoute de longue durée. Nous avons donc atténué les fréquences désagréables. Après comparaisons nous étions très satisfaits du résultat malgré une perte minime mais indispensable pour le confort d'écoute :)

[@alombredeslava2468]

Tout à fait d'accord, de A jusqu'à Z !

[@trueimagename]

Awesome!

[@marieclairefabre1463]

Très belle musique

[@antekketna7080]

Phenomenal

[@luanllluan]

I will prefer the sound of the cravo/harpsichord, but this is nonetheless amazing, many thanks

[@naturalbeauty8k600]

thank for sharing 😘😘😘

[@canman5060]

Edwin Fischer is the teacher of Alfred Brendel.

[@polonaise]

43:28

[@amodidandachli8122]

Fischer interpretation is more relevant than Bach himself ! Bach taste different with Fischer

[@chsc4134]

Gostei.

[@canman5060]

Is it the rpm of the recording made the music go faster in the 1930's ?

[@classicalmusicreference]

The prelude in C Major of the 1st book is good at real speed :)

[@exerciserelax8719]

Will this be available on Qobuz?

[@classicalmusicreference]

We will keep you informed :)

[@geagelatiscobestiral777]

While I respect the immense skill in this rendition and vivid imagination used in its excecution, I cannot help but feel it feels quite rushed. I understand others can have many different interpretations of bach works, and that their opinons are equally valid as mine, but nevertheless, I feel that a significant portion of the subtly in bachs work is lost when played at this fast pace.

[@32251]

I would not be surprised if the tempos were not influenced by the recording medium for that time.

[@brynax170]

Every WTC I heard had different interpretation. So I couldn't compare them to each other.

[@chessematics]

I've never heard a faster c major Prelude

[@user-hf2bq5dz4b]

☺

[@nicolascastin3015]

Une des interprétations de référence de ce chef-d’œuvres. Tout est dit. Tout le monde connaît Edwin Fisher, la présentation condescendante de ce musicien hors pair me semble aussi ridicule qu’inélégante.

[@gabrielchaumont7183]

entre nous j'ai été passioné par la version Richter mais récemment par Ashkenazy , je dis comme ça car cette merveille mérite de bons apotres-qui jouent de coeur........Bref. cordialement NB si vous avez des suggestions .........

[@edfisher6434]

well done

[@mehmetiksel3081]

The only interpretation that truly compares with Richter, though less flamboyant, maybe more penetrating...

[@leckyunine7415]

There are mistakes in this recording… 3:00:09

[@ww0yrr]

His playing is muddled. He plays the right notes at the right times but the individual voices cannot always be heard because he insists on heavily using the Sostenuto pedal, something unknown during Bach's lifetime.

[@alombredeslava2468]

On peut faire différemment, mais il est difficile de faire mieux... Feinberg... peut-être...et encore ...

[@bassonvolant7097]

La version de Feinberg est typique de la façon dont les postromantiques lisaient Bach, celle de Fischer est historique dans le sens où elle invite à une lecture beaucoup plus axée sur la clarté du contrepoint et la transversalité par rapport à l'oeuvre d'orgue et la musique sacrée de la même époque

[@bigbeautifullife7329]

バロックの歴史的奏法なんて知らなくても、音楽的に素晴らしいピアノ奏者なら、技術が劣っていても、聴く人は感動するという事だ。ピアノの音が実に素晴らしいし、知らない筈なのに、バロックの歴史的奏法を取り入れて弾いているという事は、両方とも正しい事の証明になっている。原典版を忠実に弾こうとすることが間違いなんだろうなあ。そう言えば、ルツエルンで行われていた、晩年のフィッシャーのマスターコースに、弟子でも無いのにブレンデルは参加していた。そもそも、ブレンデルには、師匠らしい師匠がいない。1936年と言う時代は、電気吹込み以前で、もちろんテープ吹込みでもないから、編集は不可能。朝顔の前でピアノを弾いて、（多分ベヒシュタインでしょうね・甘い音）その横でシェラックに掘り込んで行っただろうと思う。酷い失敗をしたらやり直しだけれど、掘り込み用のシェラックや金属板は高価だから、よほどの名人以外は、ゆっくりテンポを取る事は出来なかった。前奏曲５分、フーガ５分で、第一巻の４番とか８番なんか、弾きたいテンポじゃ弾けない可能性もあるから、音楽性の高さは重要だよね。平均律って、練習曲だけど、一曲一曲音楽性が高い曲ばかりだ。そして、全体のバランスと言うのか、ストーリーが考えられている。特に一巻の方。二巻の方は、ストーリーもバランスも無いけれど、一曲一曲すべて晩年のバッハ的で、凄い作曲技法だ。ピアノの先生は、今でこそゴールトベルク変奏曲の事を知っているけれど、僕が習った、ウイーン帰りの方は、知らなかったし、１４のカノンも知らないし、フーガの技法も、音楽の捧物も知らなかった位だった。知らないんだから、僕の方が知識は上だという事だった。フーガの技法の二重フーガを、インベンションとシンフォニアは、預言的に書かれているけれど、平均律はそうではなく、典型的フーガに収まっている。グールドのバッハは、無鑑査で素晴らしいと思っている人が多いけれど、実は平均律の第二巻で失敗をしていて、その事を彼は正直に告白している。自閉症の一種であるアスペルガーの彼には、黙っておくことが出来なかったので、ビデオで表現してしまった。モンサンジョンと言う、映像作家でバイオリニストの人と対話の形だが、実は対話ではなく、台本が必要でグールドが書いている。モンサンジョンが、第二巻のテンポは少し早過ぎないかと言う。グールドは、あの頃ぼくは若すぎたとか色々誤魔化すが、結局取ったテンポが早過ぎたことを認めていて、あの名作のホ長調のフーガですら、ぶっ飛ばしているのだ。彼は別の処で、フィッシャーの平均律が壁になっていて、凄く意識していたことを書いている。第二巻で流れのような物を作っている事は偉大ではないかと僕は思うのだった。彼も同じ思いなのだろうと共感している。作曲技法の素晴らしさから離れて、音楽の素晴らしさに戻っているのだ。

[@classicalmusicreference]

コメントありがとうございます^^

[@bobhoffer5426]

I tried to listen all the way through, but too much advertising to enjoy....thanks anyway.

[@tchkvsky]

Perhaps you can put some effort into your videos and show the musical score. Putting up a photo that runs for 3 hours is not terribly enlightening. And there already are other videos of these works on YT. Thanks.