Customer Reviews

Bach Fugues

5 star:		(4)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

To understand and appreciate Bach means to be fascinated by the art form of the fugue, Bach's most important tool in giving us the wonderful compositions we know from him. A fugue is both a mathematical equation and an exploration into the unknown. Thus, it is never boring, least of all in the way in which Back used it.
The fugues performed by the Emerson String Quartet were originally written for the harpsichord, under the name Das Wohltemperierte Clavier (The Well-tuned Piano). Although some purists frown at such re-arranging, as they did when Glenn Gould played Bach on a Steinway instead of on a harpsichord, it can be defended by pointing out that Bach himself re-used many of his compositions in other works and for other instruments. But probably the best defense is the utter beauty and thrilling experience that is the result, as is apparent from the recording by the Emerson String Quartet.

I really enjoy the interplay between players. These performances facilely brings out WTC's inner structure and makes these interactions three-dimensional. Unlike the Art of Fugue, one can enjoy to hear a variety of subjects and countersubjects. (I understand the Art of Fugue used permutations of a single subject!)

I would have given this recording 5 stars if if weren't for an aural sameness throughout. I understand this sometimes happens when arranging for string instruments, but clearly, I would have liked more dynamics and shading at the performance level. Otherwise, highly recommended.

PS: The present recording features 21 fugues of the famous "48". Perhaps the Emerson would commission the arrangements for the remaining (27) fugues for a future recording...and what about arranging the (48) preludes for string quartet? (Now THAT would be a more of a challenge to pull off!)

My two cents.

J.S. Bach is, hands down, my all-time favorite composer. The Well-Tempered Clavier is one of my favorite works by Bach. (I have 5 different versions on piano.) The Emerson Quartet are excellent artists. But, as much as this disk belongs in the collection of every Bach lover, I can't give this recording five stars.

At first glance, this project has everything to recommend it. A fugue is a compositional technique that involves the introduction of a melody, and the repetition of the melody in a different 'voice' (say in the bass, rather than in the alto). When this melody, called 'the subject,' recurs it is accompanied by another distinct melody (the 'countersubject'). This process plays out until you have as many anywhere from 2 to 6 to 8, or whatever, distinct melodies playing at the same time. Now, Bach wrote these fugues for a keyboard (clavier). As a listener, it is very difficult, if not impossible, to follow all of the melodies (voices) at the same time in a keyboard performance since the separate voices of melody 'present' as harmony, that is, as the vertical organization of notes. That was Bach's point after all, that superimposed melodies can created harmony and harmonic movement (tension and resolution). So a string quartet performance has the huge advantage of giving each voice (of a 4 voice fugue) to a separate instrument and performer. This performer can shape the melody and alter its dynamics throughout the phrase in a way which not only fits in with the other players but which can be appreciated for itself. In short, you can follow every voice and thereby begin to appreciate Bach's fugues in the way that can otherwise come only through playing these pieces yourself. Thank you Emerson Quartet!

The problem is that as interpretations, these performances are decidedly middle of the road. Everything is smooth and the ensemble is fine, but the Emersons' performances are never gripping or challenging in the manner of a Glenn Gould, or even an Andras Schiff. If these performances were on the piano, I could not recommend them at all. But, I hope other ensembles will pick up the gauntlet that the Emersons have thrown down. EVERY string quartet should record Bach fugues. And there is a whole universe of interpretation that the Emersons unfortunately have only hinted at here.

One final note. I played this disk for a musician friend of mine who immediately pointed out the following irony: This recording of fugues from the Well-Tempered Clavier is not played in 'equal temperament.' Recall that the WTC was written to demonstrate the compositional possibilities of 'equal temperament' keyboard tuning. But string players have no need for the approximations of 'equal temperament,' as a result all the chords sound noticeably sweeter here than in keyboard performances. Also, the Emersons have transposed some fugues from their original key signature (F sharp minor, for instance) to others that are more accessible for string players. This is a practice that Bach himself would have approved of. But the sneaky Emersons don't mention which key they have transposed into. The probably kept the keys to a minimum to make things easier, but they wouldn't want to advertise that fact!

This is a wonderful transcription of many of Bach's fugues for the keyboard that clearly delineate the several parts in counterpoint, beautifully phrased and played by the masterful Emerson Quartet. The music itself never fatigues and rewards repeated listening--it is so good to be able to hear this music that is so rarely performed in the concert hall.

Bach's music has fascinated musicians for centuries, leading to innumerable transcriptions. It is not unusual to listen to Bach transcribed for guitar,orchestra, marimba, saxophone and so forth. It is surprising to learn that none other than another musical genius, in this case Mozart, tried his hand at transcribing Bach. He took fugues from the Well Tempered Clavier, those with 3 or 4 voices, and arranged them for string trio or quartet (the 6 preludes and fugues for string trio he transcribed are not part of this recording). This CD contains five of Mozart's transcriptions as well as a number of others, done by a little known contemporary of Mozart's, E.A. Forster. The music is beautifully played; to hear Bach's music in this new garb of string quartet or quintet, is to truly a joy, and gives but yet one more insight into how timeless Bach's music is. I highly recommend this recording.

Bach, J.S.: Fugues is a recording with the Emerson String Quartet playing Bachs Fugues. The end result is quite interesting and it sounds splendid but compared to recordings with Glenn Gould it lacks the intensity and whilst being beautifull it sounds a bit impersonal at times. Even so this is a very good recording that I highly recommend. 4/5.

The Emerson String Quartet never fails to please, and this CD stays true to the ensemble's history. You'll hear a pleasing selection of Bach fugues beautifully arranged and executed. Great background music for a leisurely Sunday morning.

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The Emerson here has purposefully chosen a very Haydnesque Classical mode of expression instead of attempting a more Beethovenian Romantic approach--(Haydn: very thin and airy; Beethoven: much bark and bite).

For example, the great b-minor Fugue (S.869) here sounds like "The Lark" instead of the "Große Fuge"--which is a pity because (as Pablo Casals, Glenn Gould, and E. Power Biggs have shown) Bach can be convincingly realized with vehemently passionate subjectivity.
The Emerson's anemic lackluster reading here is distinctly plain--and very nearly boring.

The Haydnesque approach is fine with the Art of Fugue due to the inherent Augenmusik nature of the work. The Fugues (and Preludes) of the Well-Tempered Clavier--(especially Book 1)--are quite another matter wherein each piece captures a peculiar mood and idea.

Overall it's a nice disc, but it could have been better.
The Emerson should rosin-up its bows because the Leipziger Streichquartett is treading on its coattails with amazing programming and technical dexterity: with this issue, the Emerson has fallen behind...

String Quartets by Wagner, Puccini, Verdi
Bruckner: String Quintet F major/String Quartet C minor
String Quartet
Berg: Complete String Quartets
Debussy: String Quartet; Fauré: String Quartet; Caplet: Conte Fantastique
Ravel, Tailleferre, Milhaud: String Quartets
Schönberg: STRING QUARTET D MAJOR / STRING QUARTET OP 7
Schoenberg: Chamber Music
Schoenberg: String Quartets 2 & 4
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