Customer Reviews

Brendel Plays Bach

5 star:		(7)
4 star:		(1)
3 star:		(1)
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1 star:		(0)

 

 

Brendel is an incredible pianist, and a scholar of music as much as a virtuouso. This is a beautifully played and beautifully CHOSEN collection of music. In an interview included in the notes, Brendel points out that many of Bach's works seem to be written for instruments of the future: some pieces like the Chromatic Fantasy seem to be failures as written for the harpsichord but are wonderful played on the piano.

I don't miss whatever authenticity might be lost, then, by playing these on the piano. I loved how simple it was to hear the different strands of melody that wind their way around each other in the first movement of the Italian Concerto, and to hear how clearly Brendel articulated the rushing melody of the Prelude in A Minor. He's amazing: I started with his recordings of Schubert but am starting to prefer his versions of Beethoven and Bach as well.

Even his choices of what to play are revelatory. The Busoni arrangement of Ich 'ruf zu dir, Herr Jesu Christ is astounding. It was only after I ran out, got a book of the Busoni arrangements and tried to play the prelude myself that I realized how hard it was to play this (technically) fairly simple piece as beautifully and delicately as Brendel plays it.

Anyone who thinks that Bach is a dry, academic composer - or who wrote music that is coldly beautiful but not heartfelt - needs to hear these three minutes of music to know how much love went into everything he wrote.

Although many purists may have their doubts about the suitability of playing Bach's keyboard works on the modern piano, in this instance there is no question of the success of the performance. It's stunning. It is definitely 'Brendal' playing Bach as he makes sure that each piece is defined by his own personal combination of great virtuosity and profound interpretation. The intensely powerful rendering of the 'Chromatic Fanatasia' is worth the price of the disc alone and the other fantasias are similarly astounding. For the interaction of sheer concentration of thought with deep-felt feeling this is a disc which fan of Bach or Brendal should be without. Classics of the keyboard repertoire played by one of the greatest pianists of the century..go and buy.

One of my favourite recordings of anything, here Brendel rejects all attempts at historically informed authenticity and gives full rein to the possibilities of playing Bach on a modern concert grand piano. The results are utterly musical and as 'right' in their own way as performances of Bach on the harpischord. But there is no 'right or wrong' when great music is made to resound with such conviction and truthfulness as Brendel achieves on this disc. The opening fantasia of the 'Chromatic Fantasia and Fugue' storms and surges with a truly elemental power as does the wonderful A minor Prelude.

I really cannot recommened this CD highly enough (and the sound is wonderful too)

Reissued recently as one of The Originals: Legendary Recordings from the Philips Classics Catalog, Alfred Brendel's mid 1970s recording of J. S. Bach's Italian Concerto (BWV 971), Chromatic Fantasia and Fugue (BWV 903), and several other keyboard works, including two Busoni transcriptions of preludes composed originally for the organ, merely demonstrate Brendel's keen interest in musicology and performance. In an interview conducted by Terry Snow published in the liner notes, the reader comes away realizing that Brendel is not only less impressed with renewed interest in "period instrument performance", but believes passionately that Bach's keyboard works can be performed successfully on the modern piano, simply because of its greater sonic dynamical range than, for example, the harpsichord. In his playing of the Chromatic Fantasia and Fugue as well as the Busoni transcriptions of the two choral preludes (BWV 639, BWV 659), Brendel may remind listeners of an organ performance in emphasizing not only the dynamic range, but also, richness, of the sound emanating from his piano. While Brendel does note in the liner notes that he doesn't really care for emphasizing a more faithful adherence to these scores at the expense of artistic expressiveness, these performances are all noted for his usual, almost trademark, cerebral quality of his playing. Without question this is indeed a fascinating CD that has been blessed with the latest, state-of-the-art 24 bit digital remastering for optimal sound quality; one which I recommend highly not only to fans of Alfred Brendel but also those of J. S. Bach.

What an amazing concept: Bach being expressed as music instead of as a rigid finger exercise, so unlike many other famous interpreters who seem afraid or incapable of finding the humanity and full depth of emotions -- played with poise, balance and free of excesses.

Why Brendel didn't play more Bach is such a shame. I love his approach: fluid, expansive, dignified, personal, intimate, full of dynamic shadings, vital but never pounding or out of control. He sounds like a genius at it. I find it ironic that Bach is considered to be one of the world's greatest composers but trying to find a performance that actually sounds like music instead of a machine seems to be one of the hardest tasks in all of music. Unlike Mozart, Beethoven or Chopin, I rarely find Bach keyboard performances that I like.

In any event, I've never heard Bach played with such meaning and expression, and it's a beautiful revelation. I feel like a million dollars when I hear Bach played with such incredible musicianship and depth in this unique (to me) but completely natural, inspiring and uplifting performance. The Italian Concerto sparkles, and Nun Komm, Der Heiden Heiland is beautifully paced and moving. Bach deserves this kind of deep insight and elastic musicianship... simply marvelous. This is my favorite Bach keyboard recording.

At the beginning Brendel, unlike Pollini, did not set the concert stages on fire. However he is considered a pianist of the modern style receiving comparison and the devotion paid to such pure musicians of the past as Clara Schumann and Artur Schnabel. On the occasion of one of his Beethoven cycles in London, Brendel even got awed reviews from the "Times", filled with prose normally reserved for the Deity. In this recording, Brendel opens with the Bach "Italian Concerto". The playing is objective and literal in approach with considerable rhythmic vitality and controlled pacing throughout. However, there is an aspect in his playing that creates a "stop-sign" effect (paying too much attention to bar lines) in the ear of the listener, unlike the communication and allure pianist/harpsichordist Vital Julian Frey conveys in his performance of this piece; something which Bach would have admired and wanted. Once Brendel begins the "Chromatic Fantasy and Fugue", the playing immediately takes on the element of command needed to provide an accurate blueprint of the architecture of the music. Brendel shows just how admirable his technical facility is in the opening flying cascades of ascending, descending passages. The character of the playing becomes thrillingly combustible, imaginative and involving. Even more striking is his tendency to vary the pulse. In the more improvisatory cadenza-like section, Brendel is clear-sighted and his musical philosophy is secure. His use of give and take within long phrases is always well measured. The various voices within the fugue are clearly defined but never break the balance within the polyphony. Brendel's use of pedal brings on an atmospheric and imaginative element of grandeur and sensationalism to the finale. Overall the performance is notable for its passion and finesse. If only he had let himself go a little more, this disc would have been outstanding.

Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (honorary)

[Repost] What an amazing concept: Bach being played expressively as music instead of as a finger exercise! Try to find a good Bach keyboard recording that is naturally expressive. If all the Bach keyboardists in the world were lined up in a row, I would bet my life-savings that Brendel would come out on top. Why this man doesn't play more Bach is a shame. He sounds like a genius at it and I must say that I've heard more musicality in Brendel's Bach than from the G guy, Roselyn Tureck, and many others. It's a funny thing... Bach is considered one of the world's greatest composers but trying to find a performance that actually sounds like music instead of a machine is one of the hardest feats in the world! In any event, I've never heard Bach played like Brendel, and it's a beautiful revelation. Every glowing remark the other reviewers have made is absolutely true. Treat yourself... you'll feel like a million dollars from the incredible musicianship and depth of this UNIQUE but completely natural performance. Bach deserves this kind of approach, but I've never heard anyone pull it off quite like Brendel does here. Ten stars.

A treat of Bach's most innovative piano works. The Fantasia and the two Fantasia & Fugues are powerfully played. Brendel has a very consistent and rounded sound, yet he plays Bach with an original and sparkling flair. He captures much intensity with these pieces without succumbing to eccentricity.

Where's the sense of soloist/concertante in the aptly named Italian Concerto--has Brendel ever listened to Bach's model Vivaldi or the Brandenburgs? Brendel's performance is insipid because he doesn't grasp this essential contrast.

The other big-ticket item on this recording is the Chromatic Fantasy and Fugue. Brendel's fillegre-like playing of the scale passages in the fantasy could work, but it needs to be balanced with some measured chords. And the fugue? Maybe some other pianists have been criticised for overdoing the bass, but even harpsichordists like Kirkpatrick recognised the need to reinforce the bass with octave doublings. Brendel seems to reinvent the clavichord here--why? It's an early work that was once considered not by Bach--put some guts in it!

Brendel shines in the last track, Fantasy and Fugue in a, BWV 904. He has no trouble bringing out bass in the fantasy, and his voice leading is right on the money. Indeed, Brendel does know how to play voices in all these performances, but BWV 904 is the best of all.