Customer Reviews

Bach: The Well Tempered Clavier Book II

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

 

 

Korevaar's understanding of keyboard balance and his sculptured counterpoint approch stunningly reveal Bach's overall line throughout this series (WTC I and II). Playing the WTC on harpsichord, clavichord and piano (with all of the distance between Richter and Gould) allows different nuances and interpretations, but each of these needs not be contrained by the others. Korevaar (with his wonderful lyrical Baldwin grand tone which flows with his gorgeous interpretation) exploits his instrument's unique potential, unpacking the deep emotion which Bach layered in these amazing works. If you can only afford one WTC then this one, in my opinion and without any doubt in my mind, is the one to purchase.

I share the views of the first reviewer. There is something rich and beautiful about the sound of Korevaar's piano, and the sound of the recording is very natural. He plays this set (and WTC I) with a combination of passion and discipline that is very musical and certainly brings the listener an appreciation of the complexity and extraordinary beauty of the music.

I've owned several recordings of Bach's timeless keyboard masterpiece but was never fully satisfied with any of them. Schiff I found a bit too soft-spoken in that his playing lacked emphasis and tended to sound blurred at times, whereas Gould was too mannered and erratic and I couldn't stand his extra-curricular "sing-along sessions." Other disappointments have included the widely-praised Edward Aldwell, who I found much too static in the faster-paced pieces, and Valery Afanassiev, who plays all the pieces about twice as slow as normal and seems to have fashioned himself as the pianistic equivalent of Celibidache conducting Bruckner.

When I first heard both Books I and II of this virtually unknown professor-pianist, David Korevaar, I immediately knew I had found my saving grace among WTC recordings. First and foremost, I would like to draw attention to the absolutely stunning clarity of Korevaar's playing. The notes almost seem as if they're bursting into life from the plangent Baldwin SD-10 piano he plays, an aspect that, along with his overall avoidance of heavy pedalling, allows for Bach's counterpoint to be heard with an incredible crystalline transparency. His pacing is among the quickest on record, yet I would describe it as lively and forceful rather than routine or perfunctory. The faster pieces brim with a sort of liveliness and rhythmic drive that I found lacking in other recordings, while the slower ones (many of the Fugues) are played simply, not too broadly paced, yet characterized by a remarkable buildup of tension and drama. Sparse pedalling and an absence of annoying background noises (such as the clicking of piano keys, the grunting and moaning and heavy breathing of some other pianists, etc.) are always a plus in my book and are another asset of Korevaar's recording. While you've probably never heard this set mentioned among the usual WTC recommendations (I never have), I don't think this should deter you from seeking it out. I was more than pleasantly surprised when I came across Korevaar's WTC to the point that I now consider it an essential must-listen for any fans of this monumental work.