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Bach: The Well-Tempered Clavier I (2 CDs)
 
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Bach: The Well-Tempered Clavier I (2 CDs)

24 février 2003 | Format : MP3

EUR 15,99 (TVA incluse le cas échéant)
Également disponible en format CD

Applications Amazon Music

Applications Amazon Music
Titre
Durée
Popularité  
30
1
4:10
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3:29
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4:06
30
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6:17
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3:12
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3:40
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6:01
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8:01
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9
2:52
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4:07
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11
2:39
30
12
6:32
Disc 2
30
1
3:41
30
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4:06
30
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4:03
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3:50
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3:57
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4:13
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3:56
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5:53
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9
3:07
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5:04
30
11
3:32
30
12
9:43
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Amazon.com: HASH(0x96188978) étoiles sur 5 7 commentaires
17 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0x95ffc744) étoiles sur 5 Beth -- You're a Dope 17 janvier 2005
Par James Abraham - Publié sur Amazon.com
Format: CD
To correct two of the previous reviewers:

1. They didn't mistakenly tune it down a whole tone -- "reference" pitch varied and changed all over Europe since the beginning of western music. Depending on the instrument and the country, A has varied from a low of about 360 Hz to a high of about 460. However, it is undeniable that pitch has been creeping up for centuries. So, for Bach's time, A=440 would have sounded probably a semitone SHARP.

2. There is no relationship between pitch and temperament. Temperament refers to the distribution of "the comma"; the reference pitch is merely the starting tone.
15 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x960034bc) étoiles sur 5 Excellent Recording - Clarification 20 février 2004
Par Un client - Publié sur Amazon.com
Format: CD
This recording is absolutely beautiful and mesmerizing. Gilbert is one of the finest harpsichordists in the world and his playing is particularly inspired here: he clearly has a passion for the material and it shines through in every prelude and fugue. The sound quality is high, the packaging is attractive and the price is extremely reasonable. Kudos to Archiv.
The previous reviewer has made some misleading statements which should be cleared up.
Modern tuning is based on the system of equal temperament in which A has a frequency of 440Hz.
However, it should be obvious from the title of these compositions alone that J.S. Bach composed these pieces for a WELL-TEMPERED instrument (for which A has a frequency of ~392Hz) and NOT an equal-tempered instrument.
Gilbert has recorded these pieces using an historically appropriate instrument (an 18th century harpsichord), an historically appropriate acoustic space (a baroque chapel) and the historically appropriate well-tempered tuning that was originally intended by the composer.
Do not let the ignorant blather of the previous reviewer dissuade you from buying this exquisite, hauntingly beautiful recording. It's probably as close as we can get today to what it would have been like to hear the great master perform his own works.
8 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x960032e8) étoiles sur 5 Even-Tempered Bach... 26 août 2007
Par A Customer - Publié sur Amazon.com
Format: CD
~~~

Kenneth Gilbert's 1983 traversal--(reissued, 2003)--is a very even-tempered reading of the great 24. Gilbert performs on quite an old small instrument: a Flemish double-manual harpsichord of 1671. This is not an huge-monster harpsichord, but rather more akin to the clavichord--that is, having fewer strings and therefore a smaller, thinner sound: lovely.

The recorded ambience is wonderful: this performance was miked properly.

As for Gilbert's realizations, he takes a very balanced, even-handed approach. His timing is steady; his dynamics, by no means excessive.

We highly esteem Gilbert's realization; indeed, rate it with Kirkpatrick's on clavichord and Gould's on piano. See too, Aimard, Leonhardt, Watchorn, Richter, Nikolayeva.

By the way, while WTC Book 2 features some interesting and excellent preludes and fugues, they are more uniform than Book 1 which includes very exceptional and eccentric pieces--therefore potentially of more aesthetic value.

~~~
5 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x960038c4) étoiles sur 5 The best introduction to the WTC? 29 septembre 2008
Par R. SA NOGUEIRA SARAIVA - Publié sur Amazon.com
Format: CD
In a way, this is the best possible version of the WTC to someone who is looking for a balanced, deep and totally honest version.

The harpsichord is a beautiful Flemish-French (recent research shows it is rather more French than Flemish) harpsichord (Gilbert's own) that has a marvelous sound: rich and deep, and yet bright and clear.

Professor Gilbert's version is as new now as it was when it was released. It is totally respectful of the music (you won't find eccentricities, here, just the music but superlatively played). He has a very cantabile sense of the music - every voice is respected - and his Bach is phrased almost as a dance, rather than as gesturing. He seems to belie Leonhardt, when the Dutch says that the piano was meant to sing and the harpsichord to speak; in Gilbert's hands, it really sings).

Do not expect strong chords, abrupt contrasts or anything like that. Gilbert's version is for the connoisseur rather than the Fireworks enthusiast. If you examine, in detail, the way he plays, you will find that every voice is subtly sung, that the amount of work and serious thought he lavished into Bach's music is prodigious.

One of the top versions of the WTC (this is valid to both WTC I and II)
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x9600393c) étoiles sur 5 Superb Bach on the instrument he wrote it for 20 mars 2014
Par Phil P. - Publié sur Amazon.com
For many years I’ve owned 3  sets of the WTC - this one, harpsichord versions by Davitt Moroney and Gustav Leonhardt (Book 2 only) and one piano version, Glenn Gould’s. I’ve always preferred Bach on the harpsichord, while also enjoying Gould’s unique interpretive vision. It seems my preference isn’t widely shared. In doing a keyword search for the WTC on Amazon I was shocked to discover to what extent piano versions outnumber harpsichord in number and popularity. In fact, all three of my harpsichord sets are out of print. Is it the instrument or the players? Do many people simply dislike the harpsichord, or are they just attracted to certain performers? The most popular piano versions by far are the ones by Gould, Sviatoslav Richter and Andras Schiff. Gould is something of a cult figure (deservedly so, I should add) while Richter and Schiff have reputations outside of Bach. To be a harpsichordist is to be, perforce, a Baroque specialist, and Baroque keyboard music is certainly not as popular as piano music of the 19th century. Wanda Landowska was famous in her time as a pioneer, but these days no harpsichordist is likely to obtain the fame or popularity of a star pianist like Gould or Richter or Schiff.

It’s true that the harpsichord’s lack of sustaining power and dynamic control is a disadvantage, which is why it fell into obsolescence. But Baroque composers knew how to write for the instrument they had. The harpsichord has a brilliant sound. The modern piano, to my ears, has a rather dull sound, not only in comparison to the harpsichord but to most orchestral instruments. I love 19th century and later piano music but its effectiveness and coloristic qualities are the result of new textures developed to suit the capabilities of the new instrument. On the modern piano Bach’s linear textures can sound rather dry.

Anyway, this Gilbert set has long been my favorite of the harpsichord versions. Recently I bought the Richter and after hearing the whole thing once, decided to do a face-off between Gould, Richter and Gilbert, listening over the course of a few days to each one of the 48 three times in a row. My impressions of the performances ended up being somewhat different than from when I listened to them separately. For one thing it even more strongly reinforced my preference for the harpsichord in this music. I always listened to Gilbert last and after the piano versions it seemed like going from an arrangement to the real thing, so even when all three versions seemed interpretively equal, as was often the case, I ended up preferring the harpsichord version, i.e., Gilbert.

But more than that, and somewhat to my own surprise, I concluded that interpretively Gilbert’s was superior overall to the two piano versions. Not, to be sure, in every piece. I love Gould’s playing of many of the fugues which he tends to take quite fast, bringing a thrilling kinetic quality as well as exploiting the piano’s percussive qualities. (The b flat minor fugue in Book 2 is a wonderful example of that.) On the other hand, sometime his approach can seem mannered or lacking in sensitivity. Richter has his faults too, mainly in the ponderously slow tempos he adopts for some of the longer fugues, like the b minor in Book 1 and the g# minor, B flat major, B flat minor and B major fugues of Book 2.

But I could not find a single bad number in Gilbert’s set. Nor are his virtues merely negative. He is a most sensitive and even poetic interpreter. Listen, for example, to the e flat minor prelude in Book 1, or the f minor preludes in both books. One advantage of the piano, you might think, is that it’s control of touch would allow for greater clarity of part playing in the fugues. But skilled harpsichordists like Gilbert have never found that to be a problem. Gilbert is a master of agogic accents and of Baroque ornamentation, two means by which harpsichord music compensates for the lack of dynamic control.

This set was first released in 1983 and, it appears, was re-released in 2003. I hope some day it comes back into print so many more people will get to know it. Meanwhile, if you can find a copy without mortgaging your house, grab it.
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