Customer Reviews

Bach: The Well-Tempered Clavier (book 1)

5 star:		(10)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(2)

 

 

My head is ringing with preludes and fugues by Bach at the moment. Just a week ago I attended a festival of keyboard counterpoint at the Royal Northern College of Music, and over the last year or two the BBC has been broadcasting a midnight series of the 48 played by Gavrilov, Demidienko and Joanna McGregor. One thing is very apparent from it all - Bach's preludes and fugues don't get many bad performances, in public at least. Angela Hewitt is in a very distinguished line of north American Bach-players on the piano. During the 50's and 60's Rosalynn Tureck kept the tradition of playing Bach on the piano alive as the purist bandwagon gathered momentum, and slightly later Hewitt's great Canadian compatriot Glenn Gould gave that tradition a spectacular new impetus, and by now matters are where they ought to be, with instruments seen and heard as the servants of music and not the reverse.

It's difficult to give the right impression of a set of performances where there is really nothing to criticise. Hewitt works within strict parameters of moderation and impeccable taste and sense of style. That is not faint praise, but very emphatic praise indeed. There is plenty of variety in her touch, and plenty of light and shade in her dynamics and tempi. What she doesn't go in for is the dramatic contrasts of loud and soft so favoured by Tureck, nor the sometimes spectacular tempi adopted by Gould. Her technique is absolutely perfect, but her touch is not one that you could identify in an instant the way you can often identify Gould's. Now and again she raises her voice to some purpose, as when she adds an extra octave in the bass (very properly) at the end of the D major fugue, and we get an impression of what she could she could do along with the best of them if she saw fit. In general, though, this is the exception. Her way with the first book of the 48 is neither unduly severe nor tending towards the romantic, as one may feel Richter does. This is a musical world of its own. It contains limitless variety in everything except the consistently magnificent standard of the pieces, but it's a world that stays within its own orbit and this player goes on no trips outside that orbit. Whatever the piece seems to ask for, Angela Hewitt seems to have it. She tells us that she detects a danger that the second prelude, in C minor, can be made to sound ugly. Nobody I've listened to lately did that, and I suspect Hewitt wouldn't even know how. She is not without individuality in her own terms either, as you will hear right away in the famous first prelude. I have always been very attracted to Gould's highly individual way of doing this, each arpeggio half-legato and half-staccato. In case it was time for a change, here is a very beautiful alternative, light and ethereal.

She is particularly effective in the C sharp major prelude too, and actually tells us to some extent how she achieves her effect. Her liner-booklet is one of the best I have ever seen. It's informative, thoughtful, unpretentious, practical and down-to-earth, and all the better in that respect for being concerned with music that is anywhere but down to earth. Sometimes she lets us into her thinking as to why she adopts a certain approach - she favours a constant pulse in the big E flat prelude, for instance, and she ends the C sharp minor fugue quietly because (according to Czerny) Beethoven did it that way and it makes the best sense to her done like that in any case.

This is an absolute joy of a set, in case I haven't made that clear already. There are other fine sets around (e.g. Schiff apart from others already mentioned) and it's unlikely that any listener will like one interpreter's account of all 48 pieces best in every single case. The very special individuality of Gould is very special for me, and I am the sort of Gould-follower who can take more or less anything from him in Bach. For a distinguished version that places less weight on personal taste and temperament, and particularly for a version to recommend to newcomers as some kind of generally-acceptable ideal without idiosyncrasies, this one is going to take some beating.

Having heard Bach's Well-Tempered Clavier by Gould (Sony), Schiff (Decca), Afanasief (Denon), Richter(BMG), Gulda (Phillips)and Nikolayeva (JVC), I find this by Angela most satisfying.

To be precise, I appreciate the following features: 1) Extremely well-articulated voice lines, like Nikolayeva. 2) Always aware of rhythmic aspects like Gulda, unlike Richter. 3) Never sound harsh, unlike Gulda. 4) Still can sound "huge" in slower fugues, like Richter. 5) Never too personal, unlike Gould.

Her playing might sound banal for those who have heard Gould's recordings, but you will find her musical intelligence just impeccable.

Angela Hewitt's WTC Book I and II received the prestigious Penguin Guide "Rosette" award - as well as high marks from the other UK classical music guide, Gramophone (whose readers voted Ms. Hewitt "Artist of the Year" in 2007). This set came early in Hewitt's massive, 11-year traversal of Bach's major keyboard works. As compared to Book II, the preludes in this Book I set tend to be slightly more lyrical and musically charming where those of Book II are longer in length, denser in texture and more complex in scope.

But, if you are not a pianist - or are newer to classical music - some background may help here regarding the phrase, "Well-Tempered Clavier." Translated from the German, it basically means a keyboard (clavier) that is "evenly-tempered" or evenly-divided into twelve equal intervals of an octave scale. Before Bach, there was no agreement as to how to tune the keyboard, and many scientific and religious theories abounded. This compromised (12-semi-tone) approach of Bach had the main advantage of having all 12 major and minor keys in a tuning that is both convenient to the player and overall acceptable to the ear. So, without any tuning changes, the harpsichordist could play in any key at will and it sound good - something critical as the keyboard was gaining prominance. So, historically, these 48 pairs of preludes and fugues became a foundation of the Western tonal music system. They not only showcase this new system of tuning, but they also are a systematic exploration of harmony as well as a highly-structured method of keyboard teaching. This achievement brought Bach recognition as one of the great scientific practitioners of music - and even one compared as "the Issac Newton of Music."

Out of the many fine recordings, the preferred choices must certainly include Angela Hewitt's sets here - which are also some of the most beautiful in tone. To get a feel for Hewitt's sweet, lyrical style, listen to tracks 1, 5, 17 and see how she beautifully shapes the legato lines and uses her trademark light & gingerly touch to create truly lovely colorations and subtle moods. But, Hewitt is much more than sweetness as seen in her precise articulations and confident progression through the complex fugues. In these she brings the needed "gravity" and intellectualism to such German-minded polyphonic works that Bach intended (such as the closing fugue).

Hewitt's WTC is one of the few in her discography that I find has a slightly sub-standard sound quality (not as rich and "full bodied" as others)... maybe due to the fact it was one of her first on Hyperion. (Hyperion is supposedly to record a new version now ten years later sometime during Hewitt's WTC Tour). Other reviewers note this less-than-ideal sound quality as well, but it shouldn't be a "show stopper" since the music is so superb.

Also, one other good reason to get Angela Hewitt's set (or any CD of hers for that matter) are her superlative liner notes (a small book of 16 full pages in English here). All her notes are the best-in-class and allow a deeper enjoyment and satisfying learning experience. So, overall, Angela Hewitt's WTC Book I is a most superb, educational and delightful set of a landmark work in music history. In 2007, Hewitt will do a world tour of "the 48" - playing them from memory no less. Compositions - 5 stars; Performance - 5 stars; Sound quality - 4 stars.

So far, almost every interpretaion of Bach's well-tempered clavier involves the radical faith about music and music performance, and every one tried their best excavating the great depth hidden in this reportoire. Hence we can easily recognize every pianist's deep thought,as Gould reflected his extraordinary and shining charecter, Richter both contemplated and composed, Landowska sang, Schiff focused on acoustic sweetness, Goula insisted on clean, unpedaled line. Here Herwitt gives us a new scope, a natural structural thinking of Bach. Every prelude and fuge is kept in a very natural tempo and articulation, without strange over-emphasized theme and contertheme. The progression of Hewitt's music is mellifluent, sometimes you will find these Bach's preludes and fuges sound so sweet, even seem to be a whole new work! If you do not expect to find or receive some serious meaning of life or faith in Bach's well-tempered klavier, then is is a very good performance indeed.

Angela Hewitt's entire Bach series on Hyperion has been excellent. It is somewhat in the style of Schiff, but with a wider dynamic range and richer color palette. It does not have the relentless energy and eccentricity of Gould, but I'm thankful for that. This is clearly a pianist's Bach, but it is also not likely to offend authenticists.

This is absolutely one of the best recordings (of anything) I have heard recently! I am a pianist and composer, and an owner of a fairly large collection of classical music CD's. I have played through the WT books I and II many times, and (as many do) consider them to be a combined Bible of musical creation. Hewitt provides excellent technical control and superb phrasing, the two fundamental requirements for these challenging pieces. Great music requires a good deal more, though. Hewitt comes through with an elegance that continues to amaze me, and when coupled with her understated emotional depth this recording becomes truly breathtaking.

Hewitt's is a deep and thoughtful interpretation. The discipline in her playing is awesome. The first fugue on the disc immediately demonstrates this. The C major fugue is played with such even handed control and temperment. The first few rising notes of the line she plays legato and phrases the next group with a light, playful staccato. The next voices are introduced in the same style giving the piece personality and a powerful sense of unity. This is how she pretty much plays the entire work...with dedication, discipline, intelligence and heart. Yet there is a lightness to her touch (sample the delicate, airy prelude #5...my fave prelude) and her legato in the C major prelude is velvety and smooth.

This type of mature, disciplined playing makes listening to the wild and speedy Gould sound like a child. The only drawback to this set is the steep price. Fortunately, I was able to pick up a copy used at a local CD Exchange store. However, this is Bach playing of the highest order and not likely to disappoint.

Bach is en vougue again with the current 2000 celebrations. The Canadian Hewitt, however, has been honing her interpretations for some time and her rendering of the first Book is quite amazing. The work is described as the keyboard's Old Testament; the recording is stunning. Hewitt has a refined clarity and depth of interpretation which truly set her apart from the crowd. Her preludes show focus and her fugues deomnstrate her remarkable skill as a near virtuoso pianist. If you like Schiff then you probably won't be swayed; if you want a good compliment to Pogorelich's suites, then this is for you.

Bach: The Well-Tempered Clavier (book 1) is a recording with Angela Hewitt turning out a performance that is astounding to say the least. She captures the feel and soul of Bach's works and I dare say Bach himself would have been proud of this performance. Hewitt is not as qualified as that of Glenn Gould but she still masters the piano with great skill and I still standby my earlier praise and being that Gould died some time ago I dare say that she is one the best interpreters of Bach alive as of today. The booklet contains linernotes by Ms Hewitt herself along with a short biography. These also come in French and German. Hyperion Records have done a great job with the recording and the sound quality is impeccable. 5/5.

There are always two kinds of pianists in this world. The ones, prodigiously talented, praised by critics and satisfied with themselves, never question what they are doing, therefore stuck in one place without ever reaching depth of music making which can stand test of time. (Kissin, Ashkenazy, Argerich etc)

The others who keep asking questions and aspire to reach higher realm of music making, trying to capture fleeting moment of the divine. (Richter, Rubinstein, Pogorelich, Volodos etc)

To me Hewitt belongs to the former. The elegance, fluency and subtlety of her playing are admirable enough, but that's all there is. Her recordings and her live performances Bach give me the impression that she is just content scratching surface of the music despite her refined style. Pretty playing but not for me.