Ten years ago Angela Hewitt recorded a version of The Well-Tempered Clavier Book I which dazzled the critical world and record-buying public. It was followed shortly afterwards by Book II which was similarly received. Now, fresh from her Bach World Tour—in which she performed the complete Well-Tempered Clavier from August 2007 until the end of October 2008 in 58 cities in 21 countries on six continents—Angela has made an entirely new recording of this most iconic of keyboard works.
In a way, this is the best possible version of the WTC to someone who is looking for a balanced, deep and totally honest version. The harpsichord is a beautiful Flemish-French (recent research shows it is rather more French than Flemish) harpsichord (Gilbert's own) that has a marvelous sound: rich and deep, and yet bright and clear. Professor Gilbert's version is as new now as it was when it was released. It is totally respectful of the music (you won't find eccentricities, here, just the music but superlatively played). He has a very cantabile sense of the music - every voice is respected - and his Bach is phrased almost as a dance, rather than as gesturing. He seems to belie Leonhardt, when the Dutch says that the piano was meant to sing and the harpsichord to speak; in Gilbert's hands, it really sings). Do not expect strong chords, abrupt contrasts or anything like that. Gilbert's version is for the connoisseur rather than the Fireworks enthusiast. If you examine, in detail, the way he plays, you will find that every voice is subtly sung, that the amount of work and serious thought he lavished into Bach's music is prodigious.
Although not quite at the level of profundity of his teacher Gustav Leonhardt's recording, Kenneth Gilbert's 1983 recording of Book 1 of Bach's The Well-Tempered Clavier does have a style and polish that Leonhardt's too often lacked. Thus, while Leonhardt goes further into some of the minor-key fugues to find intellectual and spiritual depths that Gilbert does not plumb, Gilbert's playing is so much more elegant and graceful than Leonhardt's that it is difficult to choose between them. For listeners who approach The Well-Tempered Clavier as a volume of virtuoso works whose success depends on the effortless refinement of the player, the Gilbert, with its superbly remastered sound, will be the one to get. For listeners who approach The Well-Tempered Clavier as a volume of prayers written as preludes and fugues, the Leonhardt will be preferable. Both are superb and both belong in any Bach collection.
This cycle of preludes and fugues composed by Johann Sebastian Bach ranks tremendously high in the world of music. It is not just one of the immortal masterpieces of the world music literature; it is an encyclopedia of polyphonic art, a handbook for life, and an inexhaustible source of delight. Sviatoslav Richter said, Whenever I set to the Well-Tempered Clavier, I always get consumed with a desire not to exclude any of the sides for the sake of one narrow and dogmatic position. I am confident that Bach can be played in different ways, with different articulation and different dynamics, as long as the whole is preserved and the performance is convincing.
"Technically speaking the Emerson String Quartet are unimpeachable, with meticulous internal balance and intonation sustained at all times, remarkable tonal matching between the instruments and precision phrasing and dynamics…" ~International Record Review
A recognised authority in 20th century and contemporary music, Peter Hill turns for the first time on disc to another of his lifelong preoccupations – the music of JS Bach. On this new recording, Hill brings his customary scholarly acumen and crystalline musical intelligence to bear on Book two of the ‘48’ - music of ‘unsurpassed inventiveness’.