I'm getting to the point where I can type this pianist's name without
peeking at the booklet; thank goodness for a well-rounded education.

If you are confused, or as the song goes, "Dazed and Confused", you can
always remedy that by listening to Bach.  There's a rock-solid foundation
to his music which might not make you feel better, but you'll know what's
going on.

And it's time for me to go on with my review of Schepkin's WTC, Book I.
This time, it's the preludes/fugues in E flat and D-sharp minor.  I find
the E flat pieces highly life-affirming.  The D-sharp minor pieces will not
improve your mood; just the opposite.

13.  Prelude in E flat - This prelude represents to me the wonder
of maternalistic instinct.  The prelude starts with the new mother
bonding with her baby and then proceeds to chronicle the life of their
relationship.  There are a few rocky times, but you're never in doubt
that the strength of their bond will overcome all other considerations.
Schepkin is spot-on here.  He just gets better and better.  *4*

14.  Fugue in E flat - This is such a joyous piece of music, and I think
of it as a "tribute to life".  Very appropriate after listening to the
prelude.  Schepkin is as joyous as anyone I've heard, and his bass line
is fantastic.  *4*

15.  Prelude in D-sharp minor - There's tragedy in the air.  A princess is
being forced by her father to marry a man of the nobility and the King has
already executed his daughter's "love".  The princess is thinking on her
loss and the differences between her love and the choice of her father.
She implores her father to call an end to the marriage, but to no avail.
She contemplates suicide; she does it with a slicing of her throat.  She
falls to the ground; the blood is streaking down the side of her face as
she slowly sinks into darkness.  Schepkin captures all this beautifully;
he's a great "bad-times" pianist.  *4*

16.  Fugue in D-sharp minor - The King has murdered one man and lost his
daughter.  This isn't what he anticipated.  He can't stop thinking about
how much guilt he feels, and he can't look his Queen in the face.  Although
the King has moments when he determines to blame his daughter for her
weaknesses, he knows where the responsibility resides.  "Fade Out".  I know
I'm sounding like my needle's stuck in a groove, but Schepkin excels here
as much as in any other piece.  *4*

Don Satz
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