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Johann Sebastian Bach
Das Wohltemperierte Clavier

András Schiff piano
 
Buch I

CD 1 - Præludium und Fuge
I C-Dur
II c-Moll
III Cis-Dur
IV cis-Moll
V D-Dur
VI d-Moll
VII Es-Dur
VIII es-Moll / dis-Moll
IX E-Dur
X e-Moll
XI F-Dur
XII f-Moll

CD 2 - Præludium und Fuge
XIII Fis-Dur
XIV fis-Moll
XV G-Dur
XVI g-Moll
XVII As-Dur
XVIII gis-Moll
XIX A-Dur
XX a-Moll
XXI B-Dur
XXII b-Moll
XXIII H-Dur
XXIV h-Moll


Buch II

CD 3 - Præludium und Fuge
I C-Dur
II c-Moll
III Cis-Dur
IV cis-Moll
V D-Dur
VI d-Moll
VII Es-Dur
VIII dis-Moll
IX E-Dur
X e-Moll
XI F-Dur
XII f-Moll

CD 4 - Præludium und Fuge
XIII Fis-Dur
XIV fis-Moll
XV G-Dur
XVI g-Moll
XVII As-Dur
XVIII gis-Moll
XIX A-Dur
XX a-Moll
XXI B-Dur
XXII b-Moll
XXIII H-Dur
XXIV h-Moll

Recorded August 2011

ECM New Series 2270-73
 
Background
Pressreactions

As a young pianist, András Schiff earned wide esteem for his 1980s recordings of the major keyboard works of J.S. Bach; in recent years, as part of his long-term relationship with ECM, he has gone back to Bach as a sage veteran, earning more acclaim for his New Series recordings of the Goldberg Variations (2001) and the Six Partitas (2007). The New York Times said, “Mr. Schiff is, in Bach, a phenomenon. He doesn’t so much perform it as emit, breathe it.” In August 2011, Schiff turned his focus to the 48 preludes and fugues of The Well-Tempered Clavier, making studio recordings of both books in the Auditorium Radiosvizzera Italiana, Lugano. An iconic inspiration for composers from Mozart and Beethoven to Chopin and Brahms and beyond, The Well-Tempered Clavier has long been considered the Old Testament of the keyboard literature (with Beethoven’s piano sonatas as the New Testament). In his liner notes to this four-CD set, Paul Griffiths underscores the suitability of Bach’s timeless keyboard work for the modern piano: “Bach’s inquiry into so many nuances, of touch, of interplay between hands and between contrapuntal lines, of character and of expressivity, has helped form keyboard technique as we know it, and his music belongs to the instrument of Beethoven, of Chopin, of Debussy, of Kurtág – especially when that instrument is played with the mastery and sensitivity of Schiff in these performances (...) Noteworthy is his floated melody and his rhythmic sense – his realization that so much of Bach’s music is song or dance. Grandeur and intimacy are also here. Wit, too.”


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