Customer Reviews

Bach: The Well-Tempered Clavier, Book 1

5 star:		(8)
4 star:		(0)
3 star:		(3)
2 star:		(2)
1 star:		(1)

 

 

Looking at the other reviews of this recording, I think it is safe to say that if your tastes lean toward a more "romantic" interpretation of Bach (dynamic modulations, pedal tastefully but generously applied) and/or you are open to hearing Bach interpreted a variety of ways, this recording is for you. If you have a very definite idea of how Bach should be played, especially if Gould is your thing, then stay away. Barenboim is in top form here, but the style of interpretation may not appeal to all. As for me - everything David said in his 5-star review goes for me, too. I wouldn't be without the Gould performances, either, but I think this is an equally valid, and beautiful, approach. I suspect even Bach would approve - but I guess we'll never know!

I will say that I absolutely loved these performances of Bach's masterful keyboard writing. However, if you have grown up on the Bach of Gould and Schiff you may not find this to your liking. Their main focus was to clearly detail all of the polyphonic writing in the music to better outline the counterpoint; which is great. Gould's 1981 Goldberg variations will always be the best. Barenboim's playing is not as clear as some might like, he instead focuses on the charm and elegance of the pieces and stresses the harmonic tension but never sacrificing the direction of the melodic lines. That being said, the sound on this disc is wonderful, the playing is fantastic. I can understand apprehension about hearing Bach from Daniel Barenboim. His odd choice of rubatos in the Beethoven sonatas have left me disappointed and confused many times but he really does a straight up job with these pieces, worrying less about his ego and concept and more about making beautiful music. I love how after conducting most of the great masterpieces of wagner, beethoven, and a lot of contemporary music, toward the end of his career, Barenboim decides he's ready to interpret these bach pieces. I'm sure you will enjoy it.

I heard Daniel Barenboim give an enthralling, Romantic interpretation of the Well-Tempered Clavier, Book 1 a few nights ago at Carnegie Hall's magnificient Stern Auditorium. His interpretation will surely not please everyone, especially those familiar with Glenn Gould's austere, precise interpretation, but I think Barenboim has a thoughtful, important interpretation of this work in which he emphasizes the harmonic aspects of the scores. Having heard part of this CD too, I will say that it is one of Barenboim's best keyboard recordings in recent memory, demonstrating that he is still a fine pianist, as well as a notable orchestral conductor. I strongly recommend acquiring this CD for those interested in a fresh, yet vivid, interpretation of Bach's scores. However, if you are more inclined towards an austere, almost sublime, interpretation of the Well Tempered Clavier, I would recommend acquiring instead the classic recordings by Glenn Gould and the recent ones by Andras Schiff.

The other reviews as always are diverse in their opinions and both amusing and shocking. I wonder what they are hearing. Barenboim's Bach is subtle and understated in the most possibly positive sense. Is it possible to be more clear, concise and controlled? Many Chicagoans don't think much of him as a conductor, possibly because of his last name, but once you leave the city limits his reputation soars. I have plenty of other recordings I admire as well but Barenboim seems to me to have something special going on besides playing the notes well and as a listener I have to dig deeper or just let it insinuate itself into my brain. I have never heard Bach played so delicately. I confess to being hopelessly objective. I have no agendas. You might not like Bach played so quietly but I am enthralled.

This music is as far from Glenn Gould's style as one can get. It is played with high energy and an obvious passion. This recording is a revelation. If you know this music from other recordings I highly recommend this album. I feel like I am listening to it for the first time each time I play it. It is a different perspective no doubt, but lighten up! It is beautiful music. The "Bach police" should take a hike. I can't wait for Mr. Barenboim to do Book II. That will be something to hear.

A totally new take on this extraordinary music, thus many people have objections to it; yet who knows if Bach today might not have enjoyed a romantically inspired interpretation that makes the most of the modern piano? For me, Gould and Schiff offer a sublime spiritual experience, Barenboim is diametrically different, warm and lyrical : there is room for both.

This is by far the most relaxing version of Bach's WTC. Bach is something that no matter how you play these pieces, his greatness will always shine through. Mr. Barenboim pours a lot of emotion into his playing, and it may just move you deeply if you open your heart and ears listening.

I have never really liked Bach, or enjoyed listening to it. But from the moment I heard this recording, I loved it. Barenboim's Bach is very, very special
I listened to Pollini's and Gould's as well, but I like this so much better. Here there's one focal point at a time, so you can actually follow it, whereas many other versions, all voices are as loud, and you don't know what to follow, and get confused, this one is not as busy. Beautiful!

The sound quality is murky and Mr. Barenboim's playing murkier. I frankly don't understand, for example, how his temporary slow-down in the F-sharp minor fugue is anything but random, ridiculous, wrong. Certainly, some individual pieces impress, but on the whole, methinks Mr. Barenboim was off his game a bit here.

I agree with reviewers who say that Barenboim is not a "true" Bach player, but I disagree with those who say that he lacks a "true" baroque sensibility (whatever that might be). Yes, he pedals excessively, but he also pedals gorgeously. He also projects a "Romantic" interpretation of the 48 which many will dislike. But he also searches for the "inner message," as pianists like Gould and Schiff do not, and he more than often finds it. His recording will displease purists, but it it is worth taking seriously. Given our present cultural conditioning, listening to it once is not enough. One must shed one's musical and extra-musical preconceptions and listen "with new ears" to what Barenboim has to say.

Some have faulted Barenboim for his departure from current Bach perfomance practice standards and dismissed his interpretation as "taditional" and "outdated." Well, what if it is? At this stage in his distinguished career as a pisnist and conductor, Barenboim rightly ignores prevailing purist ideas about how Bach should be played and plays from the heart--Bach as he felt he should be played. I always wished that Arthur Rubinstein had recorded the WTC, but he never did. The young Barenboim was an admirer of Rubinstein and I venture to say that if Rubinstein had recorded the WTC, his interpretation would be similar to Barenboim's.

But never mind all that. I urge Bach lovers to ignore doctrinaire dismissals of Barenboim's Bach and give this release a fair hearing. But don't listen to it piecemeal. Listen to all of Book I without taking a break. If you do, you will emerge with a new "take" on this music and a new appreciation of Barenboim (and Bach).