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Bach : Le Clavier Bien Te... a été ajouté à votre Panier
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Bach : Le Clavier Bien Tempéré

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Disque : 1
1. Fugue clavier tempéré n24 si min bwv893
2. Prelude clavier tempéré n24 si min bwv893
3. Fugue clavier tempéré n23 si maj bwv892
4. Prelude clavier tempéré n23 si maj bwv892
5. Fugue clavier tempéré n22 si bem min bwv891
6. Prelude clavier tempéré n22 si bem min bwv891
Voir les 134 titres de ce disque
Disque : 2
1. Das wohltemperierte klavier book I 2007 digital re
2. Das wohltemperierte klavier book I 2007 digital re
3. Das wohltemperierte klavier book I 2007 digital re
4. Das wohltemperierte klavier book I 2007 digital re
5. Das wohltemperierte klavier book I 2007 digital re
6. Das wohltemperierte klavier book I 2007 digital re
Voir les 30 titres de ce disque
Disque : 3
1. Das wohltemperierte klavier book II 2007 digital r
2. Das wohltemperierte klavier book II 2007 digital r
3. Das wohltemperierte klavier book II 2007 digital r
4. Das wohltemperierte klavier book II 2007 digital r
5. Das wohltemperierte klavier book II 2007 digital r
6. Das wohltemperierte klavier book II 2007 digital r
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Amazon.com: 7 commentaires
10 internautes sur 10 ont trouvé ce commentaire utile 
Delicate tenderness of Bach music 19 avril 2013
Par Hiroshi Iwatani - Publié sur Amazon.com
Format: CD Achat vérifié
Edwin Fischer's interpretation of Bach WTK has a feeling of a heart of a living human. Which I think Glenn Gould's does not have. In other words, Fischer's is a musical standard while Gould's is a heresy, however charming it might be.

This 2012 release and the previous 2008 rel both use 2007 remaster, while other older releases of the CD set use 1999 remaster. The 99 remaster has lots of scratchy hiss noises inherent to the old SP records while conveying satisfactorily percussive piano sounds. The 07 remaster has clean sound which does not have hiss nor scratch, so clean and comfortable to our ears. But the percussiveness of the piano sound may be a little weak on the new remaster. And the most lamentable flaw of the new remaster is that it has some amount of (most minimal) skips dispersed throughout. For example, the B flat minor of the Book II, which is one of my most beloved ones, has a very small skip both on its prelude and fugue.
9 internautes sur 9 ont trouvé ce commentaire utile 
a treasure 7 janvier 2013
Par John K. Gayley - Publié sur Amazon.com
Format: CD
I couldn't possibly match the brilliance and wit of the previous reviewer, although I will agree I like my Bach shaken, not stirred.

That aside, I also can wholeheartedly agree with his five star rating. These are renditions of deep contemplation, of humanity and humility. I have variously owned other versions of the "old testament 48" by Schiff, Richter and Moroney; each has enriched me in their own way, but the Fischer versions bring something wholly transcendent. I am not at all a musician, nor can I speak with any authority whatsoever about the pianistic, techical, or musical strengths (or not) of Fischer's renditions, but I do know spirituality when I hear it, and I'm hearing it here.

After reading various negative reviews of these recordings in earlier EMI incarnations, I also was surprised the sonic limitations didn't inhibit my complete enjoyment...yes, these are old recordings...80+ years old, but after a while you just don't worry about sonic limitations.

I also know a good bargain when I see one, and the price on Amazon marketplace can't be beaten. This may not be the only set of this music you will want, but I can't now see being without it. I'll return to it often, with reverence.

Highly recommended.
5 internautes sur 5 ont trouvé ce commentaire utile 
Among the most spiritual and profound Bach playing on record 26 juillet 2014
Par Phillip Huang - Publié sur Amazon.com
Format: CD Achat vérifié
To my mind, Bach's WTC has got to be one of the most difficult works to record in the entire piano repertoire. These 48 preludes and fugues contain some of the most profound utterances in human history, yet are all too often delegated out as teaching pieces for practicing purposes. In the hands of many pianists, including so-called Bach experts such as Andras Schiff and Angela Hewitt, Bach's 48 becomes boring and lifeless, and that's not even starting on harpsichord versions featuring third-rate musicians making a career out of a niche market with ridiculous claims of authenticity rather than actual musical expression.

But in Edwin Fischer's hands, these works are anything but boring. It's clear that Fischer saw the WTC as a monument of humanity and played them that way, with full Romantic expression, deeply expressive voicings, and perfect use of the sustain pedal. Although he doesn't have the raw technical ability and contrapuntal clarity of Richter or Gould, his Bach touches me the most. It's a little difficult to explain, but in my opinion his Bach is the most spiritual on record. Fugues like the C-sharp minor and D major from Book 1 become overwhelming in their humanity. To my mind, Fischer's WTC shares many traits similar to that Schnabel's recording of Beethoven's piano sonatas. Both were the first complete recordings of the Old and New Testament of piano music. Neither artist had perfect technique. And both artists possessed profound understanding of their music that has yet to be surpassed.

A few other miscellaneous notes. Yes, Fischer doubled bass lines occasionally. (As a pianist born in the 19th century, he came from a performing tradition that was far less obsessed with the score as we are today.) No, it doesn't ruin the music. On the contrary, the bass octaves are sparingly used and well thought out such that they always enhance the dramatic aspect of the music.

Lastly, a word on the EMI transfer on this recording. The sound is not bad, and the hiss has been pretty much completely reduced, but I can't help but feel that there must be better transfers around, especially considering EMI's reputation for ruining their historical recordings. I haven't heard the Naxos transfer, but many say the Naxos transfer is a lot worse than their usual quality work. What I really want to hear is Seth Winner's transfer on Pearl, which is probably excellent (judging from his work on Schnabel's Beethoven sonatas), but it's out of print and I can't bring myself to shell down ~$300 just to get it used from some shark on Amazon. If anyone has heard some of these transfers, I'd welcome your input.

Of course, any fan of the 48 will need more than one set. Here are my other recommendations in order:

1. Sviatoslav Richter, Innsbruck 1973 (live), Moscow 1969 (Book I only, live), Salzburg (studio). Incredible technique and counterpoint, with extremely virtuosic and intense fast fugues, as well as slow fugues with rapt concentration and poetry. The live Innsbruck recording represents him at his best, but is very difficult to find and is overfiltered sonically, which cuts out a large part of Richter's glorious tone. The 1969 Moscow recording is nearly as good artistically, has the best sound but contains only book 1. Finally, the studio recording, while isn't as good as the live versions, also has its great moments but also features overly processed acoustics and, in some tracks, a pitch that's almost a semitone sharp.

2. Samuel Feinberg. This is some of the most Romantic Bach playing you will ever hear and it works wonders in the slow fugues. In particular the E-flat minor and F minor from book 1 are just outstanding. It is very imaginative and delightfully musical to hear, but the frequent tempo and dynamic changes are sometimes a little annoying in the fast fugues.

3. Glenn Gould. Truth be told, I don't listen to this recording often because Gould's playing in a lot of the fugues is much too casual for my taste. His WTC isn't nearly as spiritual as that of Richter, Fischer, or Feinberg, but features very exciting playing and overwhelmingly clear counterpoint. It's a real pity that he couldn't bring the same depth that one hears in his 1981 Goldbergs to the WTC though. The 1981 Goldbergs is my absolute favorite Bach performance.

4. Evgeni Koroliov. I got these recordings after seeing ClassicsToday give them a 10/10, but in truth they are rather overrated. The playing is good but it isn't on the level of the others I mentioned. The sound quality is absolutely superb though.
Legendary readings and equally dated sound 23 mars 2014
Par Joseph Kline PhD, MD - Publié sur Amazon.com
Format: CD Achat vérifié
Bach composed his "48" in the first half of the 18th century with Book I published in 1722 and Book II in 1744. He died six years following publication of the second half of his WTC, and so these pieces represent mature works of the master. Some believe that they are most appropriate for the harpsichord but piano versions far outnumber those of earlier instruments. Edwin Fischer, the highly-respected Swiss pianist and teacher of Alfred Brendal, recorded the WTC during the early and mid 1930's. Fischer's interpretations have acquired legendary status over the years that followed. The current reissue was remastered in 2007. The resulting sound is still dated but improved over previous editions.

In general, Fischer's account is a centrist one with tempi that are largely accepted by more recent artists. The obvious exception is Glenn Gould who was an exception to most standards of interpretation and performance. He is not reluctant to use the sustaining pedal liberally, a practice uncommon today. Most pianists if they do employ pedal, use it judiciously. Even with the use of pedal, Fischer is careful not to obscure the polyphony and counterpoint, and it is seldom a distraction and adds to the drama of the individual Preludes and Fugues.

Fischer's interpretations are exquisitely conveyed with great beauty of tone and usually an appropriate use of staccato. His technique is faultless. Runs and arpeggios are impeccable. In the fugues, he carefully introduces each voice at its every entrance. My only criticism is his staccato approach to the initial Prelude in C major of Book I, probably the most well-known and popular of the entire set of preludes and fugues. It is heard most frequently as the accompaniment for one of most well-known Ave Maria's. The effect is to seriously diminish the sheer gracefulness of the piece. In contrast, the C minor Fugue is legato when some staccato is used by most modern pianists. In the B-flat major Prelude of Book I and some other preludes with an abundance of arpeggios and broken chords, he succumbs like most pianists to make it a race to the finish. Throughout the account, Fischer is strict with tempo, and despite use of pedal does not try to romanticize the preludes and fugues with unnecessary rubatos and the like.

Edwin Fischer's reading of Bach's Well-Tempered Clavier is a pure joy despite the liberal use of pedal and the understandably dated sound. His interpretations seem spot-on in most every case, and his account will no doubt to continue to withstand the inevitable test of time for many decades to come. This set belongs in the collection of every music lover and particularly those who enjoy Bach's culminating works of the Baroque period had to offer. His recordings stand equally with those of Tureck and Gould.
Bach as he should be played. 1 juillet 2015
Par jgus - Publié sur Amazon.com
Format: CD Achat vérifié
Everyone that likes this music should have this as a definitive source. This is my second time buying Mr. Fischer's version because of the convenience of putting all 48 Preludes and Fugues on 3 CDs. I had the Naxos before and was happy with that, till this.
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