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BACH, Edwin Fischer

The Well-Tempered Clavier

Edwin Fischer - The Well-Tempered Clavier (CD1) 01. Prelude and Fugue No. 1 in C major, BWV 846 (3:10) 02. Prelude and Fugue No. 2 in C minor, BWV 847 (3:01) 03. Prelude and Fugue No. 3 in C-sharp major, BWV 848 (3:35) 04. Prelude and Fugue No. 4 in C-sharp minor, BWV 849 (7:25) 05. Prelude and Fugue No. 5 in D major, BWV 850 (2:59) 06. Prelude and Fugue No. 6 in D major, BWV 851 (3:39) 07. Prelude and Fugue No. 7 in E-flat major, BWV 852 (5:18) 08. Prelude and Fugue No. 8 in E-flat minor, BWV 853 (8:52) 09. Prelude and Fugue No. 9 in E major, BWV 854 (2:09) 10. Prelude and Fugue No. 10 in E minor, BWV 855 (3:10) 11. Prelude and Fugue No. 11 in F major, BWV 856 (2:12) 12. Prelude and Fugue No. 12 in F minor, BWV 857 (6:08) 13. Prelude and Fugue No. 13 in F-sharp major, BWV 858 (2:53) 14. Prelude and Fugue No. 14 in F-sharp minor, BWV 859 (4:44) 15. Prelude and Fugue No. 15 in G major, BWV 860 (3:18) 16. Prelude and Fugue No. 16 in G minor, BWV 861 (4:17) 17. Prelude and Fugue No. 17 in A-flat major, BWV 862 (3:38) 18. Prelude and Fugue No. 18 in G-sharp minor, BWV 863 (4:48) 19. Prelude and Fugue No. 19 in A major, BWV 864 (3:42)
  • Edwin Fischer - piano
  • BACH
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3 CD:


Nagranie pod każdym względem oceniane na 10/10, mimo, iż pochodzi z lat 1933-36

AllMusic Review by James Leonard [-] Edwin Fischer's performances of Bach's Well-Tempered Clavier may not be perfect -- there are far too many technical slips for that term to be strictly applicable -- but they may well be ideal. Recorded between 1933 and 1936 in faded but honest sound, Fischer's performances have nothing extravagant about them or extraneous in them. One gets the music pure and straight with no additives. To some, Fischer's articulation may at first seem odd as in the staccato arpeggios in the C major Prelude that opens Book One. But the seriousness of his attitude and the sincerity of his approach soon render such criticisms irrelevant. Beyond these qualities, however, what truly distinguishes Fischer's performances is the clarity of his thought and the lucidity of his interpretations. Here, even the gnarliest fugues, like the dense G sharp minor Fugue from Book Two, sound completely cogent and entirely logical, ideal terms to apply to Bach's Well-Tempered Clavier. Though fans of historically informed performance practice may miss the sound of the harpsichord and fans of note-perfect performance practice may miss technically impeccable playing, fans of Bach have every reason to seek out these classic recordings.