Johann Sebastian BACH (1685-1750)
The Well-Tempered Clavier
Book I, BWV 846-869
Book II, BWV 870-893
Friedrich Gulda (piano)
rec. April 1972 (Book I) and May 1973 (Book II), MPS Studio, Villingen
MPS RECORDS 0300650MSW [4 CDs: 70:26 + 69:31 + 75:30 + 68:19]
When Friedrich Gulda’s Well-Tempered Clavier
originally appeared it was on five LPs, though with a little bit of juggling
between the two books on disc 2 it can fit four CDs with ease. These recordings
have also been previously available via the Philips label as a box set and
on Decca as two ‘Duo’ sets. Unfortunately I don’t have these
pressings to hand, but one of the attractions of this new edition is producer
Thorsten Wyk’s approach, “to preserve the original sound aesthetics
of the MPS recordings and not, as in previous reissues, to alter the dynamics
and volume profiles.” This is a neutral transfer direct from the original
master tapes, so as close as we are likely to get to ‘perfection’
in terms of Gulda’s recording. There is tape hiss audible with quieter
pieces and the volume raised, but audiophiles will find this reassuring rather
than annoying.
An important aspect of these recording sessions is that the microphone was
positioned above the piano, “directly over the strings, giving the recordings
a very direct sound, low in resonance.” There is indeed no relaxing
bath of acoustic bloom in this recording, and as a result the playing can
at times sound almost confrontational. One of Gulda’s interpretative
ideas was to “bring out on a modern concert piano the harpsichord, clavichord
or organ character of the individual pieces.” Trying to identify which
might be which is a game you can play with yourself or friends, but there
is no handy listing guide so arguments may remain inconclusive. In any case,
Gulda is happy at times to soften the sound using the una corda pedal,
which approaches the gentler clavichord. A staccato touch can suggest harpsichord,
with at times quite a French feel. Dynamic differences between pieces can
be considerable, so we’re kept awake or, if driving, twiddling the volume
knob. The piano sound is bright – just short of being ‘hard’,
but while this is not the usual perspective it is one to which you can easily
become accustomed.
Gulda’s technique is very much the strength of this Bach, by which I
mean we’re usually as aware of Gulda as we are of Bach at every turn.
This is not necessarily a bad thing, but I suspect you will have to like Gulda
to have this recording at the top of your pile of favourites. I was always
a bit wary of him after not particularly enjoying some of his Mozart and various
later programming mashups, but had my mind changed on discovering his remarkable
1960s Beethoven sonatas. Bach’s Well-Tempered Clavier is different
terrain but in many ways equally mountainous. Once you have become acquainted
with the range and depth of this recording you soon appreciate its qualities
and foibles, as it is in many ways as distinctive as Glenn Gould’s version,
though without the latter’s occasionally frustrating willfulness. Both
are brilliant, but both can be an acquired taste.
Both Gulda’s rhythmic acuity and ability to nuance voices are clear
throughout, and he doesn’t ‘ham-up’ Bach in any way, other
than in throwing in some strangely unidiomatic but quirkily forgivable ornaments
here and there. There is some sublimely soft and expressive playing to go
along with the propulsive and energetic, lyricism to contrast with the spiky
or percussive. Take the change between the percussively driving fugue of BWV
856 and the sweetly lyrical and flowing prelude of BWV 857 and
consider the difference between those two worlds. This recording is filled
with such wide contrasts, and this is a quality which makes it stand out even
four and a half decades later.
As with many piano performances, tempi can at times slow down to the ruminative,
such as the prelude of BWV 853. I rather like these pensive qualities
and find myself dreaming along with the performer, lost in timelessness. Less
appealing is the more clattering glare of BWV 861 which I presume
is a more ‘organ’ tinted performance, at least judging on the
use of the pedal. In other words, you have to take the rough with the smooth
– admittedly a subjective conclusion since what I find aversive may
be an exciting treat for others. There are indeed some exciting moments to
be had as well, for instance the prelude of BWV 864 which comes in
at a bracing 50 seconds. There is a slight difference between Book I and Book
II in terms of recording quality. Book II sounds just a little more nasal
to my ears, though this is a marginal effect.
These CDs are very nicely presented in deluxe foldout book-form, the booklet
with its original artwork holding texts in German and English on the recordings,
Gulda’s own comments on The Well-Tempered Clavier and Peter
Schinnerling’s notes from 1972 and ’73. This is a unique recording
and as such doesn’t really bear direct comparison with other versions
of the same work. My favourite piano recordings of Das Wohltemperierte
Klavier vacillate between Angela Hewitt on Hyperion, Roger Woodward on
Celestial Harmonies, and sundry other recordings depending on my mood, but
including Glenn Gould on Sony Classics, Samuel Feinberg on Pristine Audio,
Peter Hill on Delphian … There are of course many others of equal distinction.
For some this will have the feel of something legendary, but this kind of
aura has more to do with one’s relationship to the original releases.
Friedrich Gulda’s playing is special indeed, but can trade on extremes
which are always likely to divide opinion. While relishing this as a personal
and belated discovery I wouldn’t choose it as my one and only WTC,
but who in the world can live with only one WTC?
Dominy Clements
|
Support us financially by purchasing
this from
|
|
 |
|