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Johann Sebastian Bach (1685-1750) The Well-Tempered Clavier.
Click to activate the English subtitles for the presentation (00:00-09:17)
The Well-Tempered Clavier, Book 1 BWV 846-869
Prelude
☛ «she is a beautiful and technically accomplished player», «the light hand in interpretation makes this performance preferable to Hewitt (the later recording on Hyperion) or Schiff (ECM, Jan/Feb 2013)»
— American Record Guide, July-August 2015
☛ «Ishizaka plays the 24 preludes and fugues with impeccable taste and technique, finding many levels of musical meaning even as she brings utmost clarity to the multiplicity of textures.», «She scales her Bach to the rhythmic, structural and sonic needs of the music, without touching the sustaining pedal.»
— Donald Rosenberg, Gramophone Magazine
☛ «A gifted and obviously devoted Bachian»
— James Oestreich, New York Times
☛ «in all the years, all the versions, I have never heard „Book 1“ done better», «The results are fabulous. There is a great grace to what she gives us, a marvelous clarity, a sense of totality that is a very real joy to hear. She takes Bach at his word, that each part is important in the ultimate contrapuntal result. You hear Bach with new ears.»
— Gapplegate Classical-Modern Music Review, February 26, 2015
☛ «elegant, spirited, technically impressive, and ever sensitive to the expressive character of the music», «A brilliant performance and brilliant set all around!»
— Robert Cummings, Classical.net
☛ «This is a recording to change your perception of the Well Tempered Klavier.»
— Campbell Vertesi, The Cast, March 20, 2015
C Major — 846 0:00 / 2:41
c minor — 847 4:39 / 6:26
C# Major — 848 8:22 / 9:39
c# minor — 849 12:13 / 15:12
D Major — 850 17:51 / 19:25
d minor — 851 21:13 / 22:51
Eb Major — 852 24:59 / 28:32
eb/d# minor — 853 30:21 / 34:19
E Major — 854 38:14 / 39:58
e minor — 855 41:20 / 43:20
F Major — 856 44:50 / 45:54
f minor — 857 47:22 / 50:14
F# Major — 858 54:12 / 55:52
f# minor — 859 57:58 / 59:03
G Major — 860 1:02:19 / 1:03:14
g minor — 861 1:05:50 / 1:08:03
Ab Major — 862 1:09:58 / 1:11:30
g# minor — 863 1:13:29 / 1:15:31
A Major — 864 1:17:48 / 1:19:21
a minor — 865 1:21:16 / 1:22:41
Bb Major — 866 1:26:45 / 1:28:02
bb minor — 867 1:29:59 / 1:32:26
B Major — 868 1:35:44 / 1:36:43
b minor — 869 1:38:33 / 1:41:01
This performance is by Kimiko Ishizaka, piano, recorded in the Teldex Studio, Berlin, in 2014. The preludes are from the Open Well-Tempered Clavier project, and were made using MuseScore software. Olivier Miquel is the editor. The fugues are from Kyle Rothers Lillypond engraving: open.uct.ac.za/handle/11427/13106
Das Wohltemperierte Klavier / Le Clavier bien tempéré / 平均律クラヴィーア曲集 / 平均律键盘曲集 / 평균율 클라비어곡집 / Хорошо темперированный клавир
Well here it is, the «Holy Grail» and «Old Testament» of keyboard literature. It does not really make sense to post yet another recording of the WTC, and by an amateur who is barely scratching the surface of this priceless music. But hey, there is worse stuff on YouTube, and I am somewhat proud of these recordings from 2009-2014. While flawed in many ways, they are many times better than my first recording (from 2007-2008 I think).
I am much indebted to the good folks at Piano Society, especially to Andreas Pfaul, for their stern but honest feedback and their many useful suggestions which enabled me to do a much better job the second time round.
I know Ill want to improve on these one day, even the greats do. This music is so much better than anyone could ever play it — Bach is always ahead of you, beckoning, challenging, and leading the way. He is both a hard task master and a gentle teacher. Sheesh, I can get really religious about Bach :) No other composer does that to me. I would think myself weird if I did not know that many people feel the same.
I never took any video footage for these. My apologies for being a lazy sod and not providing imagery or sheets to go along with the music. This just seems too much work for such a large video. And anyway, one should concentrate on the music rather than watching pictures or checking notes against the score :) At least Ill provide the titles and starting times as usual. Let me know what you think!
Bach — Das Wolhtemperierte Clavier, Book I (ca. 1722)
00:00:10 BWV 846 — Prelude and Fugue No.1 in C major
00:04:20 BWV 847 — Prelude and Fugue No.2 in C minor
00:07:33 BWV 848 — Prelude and Fugue No.3 in C sharp major
00:11:26 BWV 849 — Prelude and Fugue No.4 in C sharp minor
00:19:58 BWV 850 — Prelude and Fugue No.5 in D major
00:23:39 BWV 851 — Prelude and Fugue No.6 in D minor
00:27:03 BWV 852 — Prelude and Fugue No.7 in E flat major
00:33:34 BWV 853 — Prelude and Fugue No.8 in E flat minor
00:43:13 BWV 854 — Prelude and Fugue No.9 in E major
00:46:03 BWV 855 — Prelude and Fugue No.10 in E minor
00:49:41 BWV 856 — Prelude and Fugue No.11 in F major
00:53:28 BWV 857 — Prelude and Fugue No.12 in F minor
00:59:33 BWV 858 — Prelude and Fugue No.13 in F sharp major
01:03:57 BWV 859 — Prelude and Fugue No.14 in F sharp minor
01:08:30 BWV 860 — Prelude and Fugue No.15 in G major
01:12:34 BWV 861 — Prelude and Fugue No.16 in G minor
01:17:32 BWV 862 — Prelude and Fugue No.17 in A flat major
01:21:17 BWV 863 — Prelude and Fugue No.18 in G sharp minor
01:26:54 BWV 864 — Prelude and Fugue No.19 in A major
01:30:29 BWV 865 — Prelude and Fugue No.20 in A minor
01:36:14 BWV 866 — Prelude and Fugue No.21 in B flat major
01:39:29 BWV 867 — Prelude and Fugue No.22 in B flat minor
01:46:01 BWV 868 — Prelude and Fugue No.23 in B major
01:49:41 BWV 869 — Prelude and Fugue No.24 in B minor
Bach — Das Wolhtemperierte Clavier, Book II (ca. 1742)
02:00:33 BWV 870 — Prelude and Fugue No.1 in C major
02:04:46 BWV 871 — Prelude and Fugue No.2 in C minor
02:09:29 BWV 872 — Prelude and Fugue No.3 in C sharp major
02:13:31 BWV 873 — Prelude and Fugue No.4 in C sharp minor
02:20:32 BWV 874 — Prelude and Fugue No.5 in D major
02:31:23 BWV 875 — Prelude and Fugue No.6 in D minor
02:35:05 BWV 876 — Prelude and Fugue No.7 in E flat major
02:40:28 BWV 877 — Prelude and Fugue No.8 in E flat minor
02:49:15 BWV 878 — Prelude and Fugue No.9 in E major
02:59:10 BWV 879 — Prelude and Fugue No.10 in E minor
03:07:06 BWV 880 — Prelude and Fugue No.11 in F major
03:13:15 BWV 881 — Prelude and Fugue No.12 in F minor
03:20:03 BWV 882 — Prelude and Fugue No.13 in F sharp major
03:25:54 BWV 883 — Prelude and Fugue No.14 in F sharp minor
03:35:16 BWV 884 — Prelude and Fugue No.15 in G major
03:39:58 BWV 885 — Prelude and Fugue No.16 in G minor
03:45:23 BWV 886 — Prelude and Fugue No.17 in A flat major
03:52:39 BWV 887 — Prelude and Fugue No.18 in G sharp minor
04:00:47 BWV 888 — Prelude and Fugue No.19 in A major
04:04:58 BWV 889 — Prelude and Fugue No.20 in A minor
04:12:10 BWV 890 — Prelude and Fugue No.21 in B flat major
04:20:14 BWV 891 — Prelude and Fugue No.22 in B flat minor
04:28:38 BWV 892 — Prelude and Fugue No.23 in B major
04:34:59 BWV 893 — Prelude and Fugue No.24 in B minor
Brahms piano concertos nos. 1 and 2 played by Krystian Zimerman with Leonard Bernstein conducting the Wiener Philharmoniker.
Piano Concerto No. 1 — 00:31
Piano Concerto No. 2 — 56:10
Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel @PAINTED.
Discover and Empower classical music Artists all around the World! www.youtube.com/channel/UCTdFciYWomCnjgKtOT6idXg
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Franz Schubert (1797-1828) — Sonatas, Impromptus and Allegretto
Sonata in A / A-dur / La Maj, Op.posth.120 D.664
*Click to activate the English subtitles for the presentation* (00:00-01:52)
Allegro moderato (00:00)
Andante (11:35)
Allegro (16:57)
Impromptus, Op.90 D.899
*Click to activate the English subtitles for the presentation* (25:09-26:43)
N°1 in C minor / c-moll / ut min (25:09)
N°2 in E flat / Es-dur / Mi bémol Majeur (35:02)
N°3 in G flat / Ges-dur / Sol bémol Majeur (40:43)
N°4 in A flat / As-dur / La bémol Majeur (47:25)
Allegretto in C minor, D.915 (55:52)
*Click to activate the English subtitles for the presentation* (55:52-56:18)
c-moll / Ut mineur
Sonata in C minor / c-moll / Ut min, Op.posth. D.958
*Click to activate the English subtitles for the presentation* (1:02:37-1:05:32)
Allegro (1:02:37)
Adagio (1:14:16)
Menuetto — Allegro (1:22:40)
Allegro (1:26:19)
Sonata in B flat / B-dur / Si bémol Maj, D.960
*Click to activate the English subtitles for the presentation* (1:36:14-1:39:51)
Molto moderato (1:36:14)
Andante sostenuto (1:56:27)
Scherzo — Allegro vivace con delicatezza (2:07:17)
Allegro, ma non troppo (2:12:05)
Sonata in A / A-dur / La Maj, D.959
*Click to activate the English subtitles for the presentation* (2:20:31-2:24:13)
Allegro (2:20:31)
Andantino (2:36:08)
Scherzo — Allegro vivace (2:45:04)
Rondo — Allegretto (2:50:54)
Piano: Claudio Arrau
Recorded in 1978,1980,1982
Find CMRRs recordings on Spotify: spoti.fi/3016eVr
*COMMENTAIRE COMPLET: VOIR PREMIER COMMENTAIRE ÉPINGLÉ.*
Impromptus op. 90 D.899
Les deux groupes de quatre Impromptus chacun (D 899 et D 935) ont presque certainement été composés en 1827, et le n° I et le n° 2 de D 899 ont été imprimés peu avant la fin de 1827. Lorsque le troisième Impromptu a été publié dix ans plus tard, il est apparu un demi-ton plus haut en sol au lieu de sol bémol pour faciliter la tâche du joueur. Si un signe en croix est plus facile à lire que six signes en si bémol, la pièce nest pas plus facile à jouer. Ainsi, lintention de Schubert de faire se terminer le second Impromptu dans une tonalité mineure au lieu dune majeure, comme préparation à la tonalité de sol, est également détruite par la transposition.
Le titre «Impromptu», qui est apparu pour la première fois quelques années auparavant, fait référence à une pièce de caractère similaire à une improvisation. Comme relativement peu de matériaux de composition sont traités de différentes manières dans ces œuvres, chaque Impromptu de Schubert donne limpression davoir été créé dans un moment dinspiration créative. Mais quel soin extrême a été apporté par le compositeur pour assurer les fins développements harmoniques et les modulations! Dans le détail, les Impromptus (D 899 et D 935) montrent le compositeur au sommet de son art; ensemble, ils forment une de ses œuvres majeures.
Le premier et le plus vaste des quatre Impromptus, D 899, nest pas sans rappeler un rondo et se développe, même dans ses variations et ses prolongements, à partir dun seul thème. Le troisième, de caractère nocturne, est tout aussi dense, tandis que les Impromptus 3 et 4 sont basés sur la forme ABA. Le 2e Impromptu est suivi dune coda basée sur la partie centrale de la pièce, qui apporte avec elle la surprenante tonalité mineure.