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Date: | Tue, 6 Jun 2000 20:29:11 -0400 |
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Donald Satz <[log in to unmask]> wrote:
>The E major Fugue harkens back to the 1600's in style and is more serious
>than the E major Prelude. Bach uses inversion, stretti, augmentation, and
>diminution to present an outstanding four-part fugue highlighted, for me,
>by a series of descending chords set against the soprano voice toward the
>conclusion of the music. The different versions provided a variety of
>emotional themes: ... So, all eleven are great without any of them
>entering the transcendent stage.
I've heard two transcendent performances, both by Gould (although Tureck's
also comes close, I think). One of these Goulds is a filler item on the
Sony disc of the 1955 recording of the Goldbergs, and the other is on the
video "An art of the fugue" (again Sony). In both, Gould uses a very slow
tempo and highly expressive phrasing and dynamics to highlight the elements
Don points out.
This fugue is one of those (many) Bach pieces which can stretch one's
capacity to absorb beauty: There is something overwhelming in the absolute
gem-like perfection (and brevity; therefore concentration) of greatness
here; I almost get the feeling some law of physics must be violated, some
kind of black magic must be involved to reach this level of perfection.
Ulvi
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