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Bach: The Well-Tempered Clavier I. / Keith Jarret (2CD)
24,00 €
na sklade / dostupné okamžite
EAN kód:
Johann Sebastian Bach
Keith Jarret
ECM, ECM New Series
Zoznam skladieb
Disc: 1
1. The Well-Tempered Clavier Book I (BWV 846-869): I Prelude C major
2. I Fugue C major
3. II Prelude c minor
4. II Fugue c minor
5. III Prelude C-sharp major
6. III Fugue C-sharp major
7. IV Prelude c-sharp minor
8. IV Fugue c-sharp minor
9. V Prelude D major
10. V Fugue D major
11. VI Prelude d minor
12. VI Fugue d minor
13. VII Prelude E-flat major
14. VII Fugue E-flat major
15. VIII Prelude e-flat minor
16. VIII Fugue d-sharp minor
17. IX Prelude E major
18. IX Fugue E major
19. X Prelude e minor
20. X Fugue e minor
21. XI Prelude F major
22. XI Fugue F major
23. XII Prelude f minor
24. XII Fugue f minor

Disc: 2
1. XIII Prelude F-sharp major
2. XIII Fugue F-sharp major
3. XIV Prelude f-sharp minor
4. XIV Fugue f-sharp minor
5. XV Prelude G major
6. XV Fugue G major
7. XVI Prelude g minor
8. XVI Fugue g minor
9. XVII Prelude A-flat major
10. XVII Fugue A-flat major
11. XVIII Prelude g-sharp minor
12. XVIII Fugue g-sharp minor
13. XIX Prelude A major
14. XIX Fugue A major
15. XX Prelude a minor
16. XX Fugue a minor
17. XXI Prelude B-flat major
18. XXI Fugue B-flat major
19. XXII Prelude b-flat minor
20. XXII Fugue b-flat minor
21. XXIII Prelude B major
22. XXIII Fugue B major
23. XXIV Prelude b minor
24. XXIV Fugue b minor
This never-before-released concert recording by pianist Keith Jarrett of Book I of Bach's The Well-Tempered Clavier, made in March 1987 at Troy Savings Bank Music Hall, New York, is now issued in ECM's 50th anniversary year. "These are performances in which tempos, phrasing, articulation and the execution of ornaments are convincing," wrote Gramophone of Jarrett's first recorded account of the first 24 of Bach's "48" some three decades ago. "Both instrument and performer serve as unobtrusive media through which the music emerges without enhancement." In this live recording from Troy, just one month after his studio recording of the work, Jarrett addresses the challenges of Bach's great set of preludes and fugues once more. Part of the goal is transparency, to bring the listener closer to the composer. As the pianist explained at the time: "The very direction of the lines, the moving lines of notes, are inherently expressive…When I play Bach, I hear almost the process of thought. Any coloration has nothing to do with this process."
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