Johann Sebastian BACH (1685-1750)
The Well-Tempered Clavier, Book II (excerpts)
Prelude & Fugue Book 2 No. 1 in C major, BWV870 [4:54]
Prelude & Fugue Book 2 No. 12 in F minor, BWV881 [5:20]
Prelude & Fugue Book 2 No. 17 in B-flat major, BWV886 [6:28]
Prelude & Fugue Book 2 No. 8, BWV877 [10:05]
Prelude & Fugue Book 2 No. 11 in F major, BWV880 [4:43]
Prelude & Fugue Book 2 No. 22 B flat Minor, BWV891 [9:02]
Prelude & Fugue Book 2 No. 7, BWV876 [3:50]
Prelude & Fugue Book 2 No. 16 in G minor, BWV885 [5:29]
Prelude & Fugue Book 2 No. 9 in E major, BWV878 [7:25]
Prelude & Fugue Book 2 No. 18, BWV887 [10:54]
Prelude & Fugue Book 2 No. 23 in B major, BWV892 [5:29]
Prelude & Fugue Book 2 No. 24, BWV893 [4:14]
Piotr Anderszewski (piano)
rec. 17–19 December 2019 and 8–10 August 2020, Teldex, Berlin. DDD.
Reviewed as streamed from Spotify
WARNER CLASSICS 9029511875
[77:53]
Anderszewski has always been one of those artists who doesn’t record often,
but when he does his disks are always worth hearing. In this latest release
he takes that approach a step further. Rather than offer the complete Book
2 of the 48 he limits himself to a personal selection, judiciously arranged
to form a coherent programme. The first benefit of this is that avoids the
unevenness that afflicts so many sets of the 48 (I think particularly of
Gould’s glorious and gloriously perverse traversal). Each pairing of
prelude and fugue here clearly matters to the pianist and as a result there
are no longueurs. As you can probably already tell, I am hugely impressed
by this new recording.
In interviews the pianist has mentioned the influence of Edwin Fischer’s
famous set and it shows – this is thoughtful rather than flamboyant Bach.
But rather like another great understated Bach interpreter Murray Perahia,
Anderszewski can be quietly radical, most notably in his remarkably slow
account of the normally dance like G sharp minor fugue. Do I think I want
to hear this piece at this speed all the time? No. But does it work here?
Absolutely. Even at this tempo he still finds an attractive spring to
rhythm and this is one of the finest features of this CD.
Try the delectable prelude to the F minor fugue to see what I mean. The
dance rhythms are delicately sprung, with the melody perfectly poised above
them.
Throughout Anderszewski is unafraid to use the full range of colours
available on a modern piano. He is most certainly not trying to imitate a
harpsichord. Judicious is the word that comes to mind again and again in
terms of the way he navigates tricky interpretive choices. He doesn’t seem
interested in big gestures but in exploring personal responses.
Anderszewski seems in tune with the wit of this music which often seems to
overawe so many other performers. There is no hint here, even in the more
severe fugues, of stern Kapellmeister Bach.
Perhaps most strikingly, as mentioned at the head of this review, this is a
record that sets out to provide us with a satisfying programme and in doing
so I count it as an unqualified success. All manner of features from
tonality to rhythmic similarities are used thoughtfully to explore
connections and contrasts between the preludes and fugues. It certainly
made me listen with new ears.
I listened to this recording streamed on Spotify. Whilst it lacks the sheer
presence of Vikingur Olafsson’s much admired recent Bach disk, many, I am
sure, will prefer the lower-key more natural sound that Warners have given
Anderszewski. If nothing else it seems to suit his approach to the music.
I count this my first five-star disk of 2021 and if anything matches it, I
for one will be delighted. I hope he can be encouraged to adopt the same
approach to Book One!
David McDade
Previous review:
Michael Cookson
