Customer Reviews

Bach: The Well-Tempered Clavier, Book 1

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3 star:		(1)
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To correct two of the previous reviewers:

1. They didn't mistakenly tune it down a whole tone -- "reference" pitch varied and changed all over Europe since the beginning of western music. Depending on the instrument and the country, A has varied from a low of about 360 Hz to a high of about 460. However, it is undeniable that pitch has been creeping up for centuries. So, for Bach's time, A=440 would have sounded probably a semitone SHARP.

2. There is no relationship between pitch and temperament. Temperament refers to the distribution of "the comma"; the reference pitch is merely the starting tone.

This recording is absolutely beautiful and mesmerizing. Gilbert is one of the finest harpsichordists in the world and his playing is particularly inspired here: he clearly has a passion for the material and it shines through in every prelude and fugue. The sound quality is high, the packaging is attractive and the price is extremely reasonable. Kudos to Archiv.

The previous reviewer has made some misleading statements which should be cleared up.

Modern tuning is based on the system of equal temperament in which A has a frequency of 440Hz.

However, it should be obvious from the title of these compositions alone that J.S. Bach composed these pieces for a WELL-TEMPERED instrument (for which A has a frequency of ~392Hz) and NOT an equal-tempered instrument.

Gilbert has recorded these pieces using an historically appropriate instrument (an 18th century harpsichord), an historically appropriate acoustic space (a baroque chapel) and the historically appropriate well-tempered tuning that was originally intended by the composer.

Do not let the ignorant blather of the previous reviewer dissuade you from buying this exquisite, hauntingly beautiful recording. It's probably as close as we can get today to what it would have been like to hear the great master perform his own works.

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Kenneth Gilbert's 1983 traversal--(remastered and reissued, 2003)--is a very even-tempered reading of the great 24. Gilbert performs on quite an old small instrument: a Flemish double-manual harpsichord of 1671. This is not an huge-monster harpsichord, but rather more akin to the clavichord--that is, having fewer strings and therefore a smaller, thinner sound: lovely.

The recorded ambience is wonderful: this performance was miked properly.

As for Gilbert's realizations, he takes a very balanced, even-handed approach. His timing is steady; his dynamics, by no means excessive.

I highly esteem Gilbert's realization; indeed, rate it with Kirkpatrick's Well Tempered Clavier, Part 1 on clavichord, and Gould's The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book I on piano.

By the way, while WTC Book 2 features some interesting and excellent preludes and fugues, they are much more uniform than Book 1 which includes very exceptional and eccentric pieces--therefore of more aesthetic value.

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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.

One of the top versions of the WTC (this is valid to both WTC I and II)

I used to think that the only names related to Bach's keyboard masterpieces were Moroney, Leonhardt, Gould or Pinnock. I was wrong. In this recording i found an exquisite universe full of poetic interpretations, a reflexion of this masterpiece, a supreme virtousism. Gilbert, who was unknown to me until i bought this record, revealed to my personal experience about Bach, another point of view, as truthfull to the baroque as Leonhardt. Gilbert plays in a french style, softly, joyfully and with great inspiration. It is a good note to say that these interpretations were made in a Harpsichord of Gilbert's own collection; there's no doubt about the close relationship between the master and the "klavier", they are like two lovers.

I used to think that the only names related to Bach's keyboard masterpieces were Moroney, Leonhardt, Gould or Pinnock. I was wrong. In this recording i found an exquisite universe full of poetic interpretations, a reflexion of this masterpiece, a supreme virtousism. Gilbert, who was unknown to me until i bought this record, revealed to my personal experience about Bach, another point of view, as truthfull to the baroque as Leonhardt. Gilbert plays in a french style, softly, joyfully and with great inspiration. It is a good note to say that these interpretations were made in a Harpsichord of Gilbert's own collection; there's no doubt about the close relationship between the master and the "klavier", they are like two lovers.

The best thing about this recording is the MARVELOUS sound of the harpsichord/recording. It has a gentle, silvery quality that you keep wanting to come back to.

Indeed, I often find myself coming back to this recording ... and each time is somehow like a blank page. Gilbert's interpretations do not leave a lasting impression, and least not for me.

On the good side, he's not eccentric and I appreciate his relaxed tempos. Gilbert is also a master at his instrument, as regards attack and technique ... But it all just sounds so predictable once the tempo is set. My mind starts to wonder in each fugue, even if I'm following with the score. I think I enjoy the cd more when I'm using it as background noise.

It's not BAD Bach, by any means. I can see why many people would adore this cd precisely because of its beautiful sound and straightforward approach. I just don't find it very exciting.