Search - Johann Sebastian Bach, Edwin Fischer :: Bach: The Well-Tempered Clavier, Book 1

Historical, but well played and clear enough

John Sundahl | Beaverton, OR USA | 03/24/2002

(4 out of 5 stars)

"I have never heard the EMI edition of Fischer's Well-Tempered Clavier, which came out in 2000 and is said to have very good sound quality, so I can't say whether the sound on this Naxos version (also 2000) is better or worse. For a historical recording, though, it sounds fine. The music is clear enough, and there is very little rumble or hiss that you might have heard on other historical recordings. It is plain from the liner notes that it was lovingly restored, using equipment and techniques that the producers are proud of.
Fischer plays many of the pieces faster than Richter, and certainly faster than Gould. The prelude to #2 (in C minor) he plays at dazzling speed. Personally, I'm into that, but if you like your Bach at a mellow pace, this is probably not for you. Not that it's all fast: when it's meant to be slow, Fischer plays slow; there are parts of this CD that you could fall asleep to.
The EMI edition puts both Book I and Book II onto one 3-CD set. Naxos splits them up, offering Book I (presently being reviewed) and Book II as separate 2-CD sets for a total of four discs. The Naxos editions together cost a few dollars less than the EMI version, and they have (to my mind) the benefit of simplicity: one set for Book I, and another for Book II. The price is right and the music is wonderfully played. If you don't mind the slightly distant sound of a historical recording, this is a delightful edition of the Well-Tempered Clavier."

The Forest and the Trees

BLee | HK | 05/22/2004

(5 out of 5 stars)

"I happened to have both the EMI and Naxos versions. The former is only of marginally better sound quality only. I rather prefer the version on Philips' Great Pianists of the Century-- but that is not a complete set of the old testament though.In Edwin Fsucher, we could perhaps look for four things. First and foremost would be his power of divination, it's heavenly music that he has to offer. Second, his superb legato sound. Only Hofmann and Serkin or perhaps Freire could really compare with him on this score. Third, coupled with a super legato is his luminous sound particularly those from the chords which could be so powerfully dramatic. Fourth, a FRESHNESS as though the piece is improvised instead of mannered or calculated-- it was mainly because of this that pianists of the older generation couldn't, or rather wouldn't, play the way we do.The expense: some wrong notes, yes, quite a few. But shouldn't we focus on the whole picture and look at the forest instead? This is no exam, nor any competition. It's the music and music making process that matter after all."