Prelude in A flat major - A spacious and joy-filled prelude that conjures
up images of thousands of people in the streets of New York City, Times
Square, celebrating the end of World War II.  I wasn't around then, but the
newsreel footage I have seen left a strong imprint on me.  The A flat major
begins in an heroic and dance-like fashion that turns into a more exuberant
expression of joy led by sixteenth notes which give the prelude its
exciting characteristics.

Schiff is good, although he doesn't do much with the sixteenth notes.
By contrast, Aldwell uses them to great advantage and excitement in the
climaxes.  However, Aldwell's version is on the slow side and tends to
drag when the dance is prevalent.  There are no dancing problems for
Hewitt, but she is too subdued in the first climax.  Suzuki tends to
get everything right except for a lack of high excitement.  The most
significant difference between Suzuki and Tilney is that Tilney provides
a wonderfully spontaneous display of joy and excitement that's largely
missing in Suzuki's performance.  It's also missing in the Leonhardt
reading which is as slow as Aldwell's.  On the plus side, Leonhardt never
drags and he gives the music a stature that's attractive.  Tilney's version
is the exceptional one in this grouping.

Gary Cooper is much too rounded in the opening, but he improves
considerably after that; excitement is strong.  The same comments apply to
Jarrett.  Jando leaves me flat; this is a very ordinary performance where
the notes are right but the emotions are as flat as I feel after listening
to it.  Fischer is very unusual.  He starts off as if in a coma instead of
in a dancing frame of mind.  Although he does later spring to life, his
reading has a 'lullaby' element which I don't feel matches up well with the
score.  Tureck's reading is a delectable one.  Heroism is strong, joy rings
out, and Tureck's staccato is very effective.  This slow paced version
which never drags is at Tilney's level of excellence.  Gulda is also slow
paced but much less animated than Tureck.  The heroism is lower as is the
excitement.  But this is not a 'loser' performance.  Although somewhat
clinical, there is a conveying of investigation that I like very much.

With heroism and excitement at his disposal, I would bet that Gould's
performance is a thrilling experience.  Well, it would be if Gould was
faster, more heroic, and more exciting.  There's nothing wrong with the
interpretation, but it's not prime-time Gould.  Mr.  Roberts is too subdued
in the dance but does very well with the sixteenth notes.  Horszowski is
very appealing although festivity in the dance is low and the playing is
far from technically perfect; he does generate much excitement.  Once upon
a time I loved Schepkin's version, but I can't for the life of me figure
out why.  In present time, I find it sounds rushed and a little contrived.
Wrong notes, uneven tempo at the beginning, and a lack of continuity hold
back Richter's version.

Fugue in A flat major - Noble music which is referred to as the
"cathredral" fugue.  The moods of the piece include hope, quiet optimism,
and relief; there is an upgrading of intensity in the last minute or so.
Additionally, the prelude has a constant drive to it which most versions
recognized.

Angela Hewitt is sensational.  The cathedral effect she provides with
her right hand is stunning, and her velvet-textured and soft conclusion
is perfect.  Hewitt is also very expansive while still maintaining fine
momentum.  Excellent readings are given by Jarrett, Tureck, Jando, Richter,
and Schepkin; each displays very strong momentum and fine lyricism.

I don't consider the Suzuki or Gulda versions rewarding.  Both are rather
forceful and can become overbearing.  The remaining issues are good ones.
Gould is very fast, but he holds it together well.

Prelude in G sharp minor - A gently swaying and monothematic three-part
invention with the opening melodic passage in every voice and often
inverted.  The opening passage is a gorgeous one of a bitter/sweet nature.
When listening to this prelude, I see Japanese children playing in the park
just minutes before the dropping of atomic weapons.  All seems serene, but
the music pays subtle homage to the impending carnage.  The children are
totally unaware of what is coming, and of greater impact, they couldn't
possibly envision the level of destruction close at hand.

I appreciate Richter's performance, but I prefer a little slower tempo and
a more gentle delivery.  That's what I get from Angela Hewitt's and Gould's
readings which are beautiful while fully vesting the music with its subtle
cloud cover.  Horszowski uses a very slow tempo which the music can easily
handle; his reading is quite sad and just as effective as Hewitt and Gould.
Leonhardt's is another great version which is sharper than the norm but
still retains a sufficiently cantabile nature.  Suzuki is the epitome of a
cantabile manner with a lovely performance.

Jarrett is as quick as Richter but less forceful; that's favorable, but
there's little depth to the interpretation.  Although I'm surprised to be
writing this, I find Tureck to be a little superficial, particularly in her
right hand which simply isn't expressive enough.  Aldwell is superb except
for a little squareness which holds his performance back from being at the
top level.  Also not quite at the top level is Schiff with a slow paced and
highly inflected reading.  Gulda's distinction is the use of staccato in
his right hand; it's an interesting approach but borders on damaging the
cantabile nature of the music.  Roberts is highly rewarding with a
heart-felt performance.

Schepkin is on the quick side and sounds somewhat rushed.  Jando comes
up with one of his best performances; legato and accenting are perfect.
Fischer is tender but still maintains an undercurrent of tension which is
one of his best Bach trademarks.  Tilney doesn't quite make the grade; his
reading is very slow and rather sharp.  Cooper is very fine with a seamless
reading with little hesitations which I find enjoyable.  Summing up, the
stellar performances come from Suzuki, Jando, and Hewitt.  Each has the
full legato approach, ample serenity, and a delicate nature.  They also
strike a wonderful balance between the prevailing calm and impending storm.

Fugue in G sharp minor - It's been days since the atomic bombs were dropped
in Hiroshima.  The fire storms have ended and survivors are starting to
come out into the foul and deadly air.  What they witness seems impossible,
and they know that they are now in a new world of horrific proportion.
President Truman is trying not to obsess about the worst ramifications of
his bombing decision, and he's insuring that public statements stress the
necessity of what he has ordered.  But inside, he knows that he has wrecked
a terrible vengence on innocent civilians.  This has never before been the
price of a war, and he has upped the ante.

This four-voice fugue is a bleak and closed listening experience.  The
fugue's subject enters relentlessly(tenor-alto-soprano-bass); it struggles
to get up but is beaten down every time.  Later, a countersubject's
augmentation of the fugue subject adds stress to the proceedings.  Gould
will have none of this negativity; he flies thru the fugue with hardly a
concern in the world, making the music pleasant background listening.  I
find his interpretation extremely benign and inconsequential.  Speaking of
benign performances, Adwell is mainly gentle and delicate and way off the
mark; also, his phrasing can be somewhat square.  Most of the other
versions are moderately rewarding.

Jando, Horszowski, Gulda, Tilney, Fischer, and Schiff give excellent
performances with strong urgency; Gulda is very interesting in that he
extends the music to over five minutes and still manages to keep me glued
to the headphones.  Schepkin and Richter are magical in the G sharp minor.
The entering of each voice is stunning in their hands, and the loop is
always closed and conditions bleak.  Right hand projection, strong and
sharp, enhances the sense of dire need and desperation.  Also, at their
slow tempo, they are able to take time to do some pondering; that's where
I get Truman's pondering of the most important decision of his life.  The
basic difference between these two superb interpretations is that Richter
provides more of an inevitability while Schepkin places greater priority
on the music's lyricism.

Prelude in A major - This is a one minute three-voice invention with three
themes in triple counterpoint.  The music has a serene and joyous quality
to it while at the same time expressing youthful energy.  The prelude has
a delicate element as well.  Gould and Tilney don't provide much joy.
Gould is fast and mechanical; Tilney just doesn't have on his happy face.
Gulda, even faster than Gould, manages to keep a smile.  Horszowski and
Schiff also provide fine versions.  Jarrett's performance is a gem; he is
thoroughly radiant and joyful.  His legato is stunning.

In the next group, I would have liked more exuberance from Aldwell and
Hewitt, although both are very poetic, delicate, and serene.  Jando is
quick and invigorating.  Roberts is beautifully serene with plenty of
youth; his phrasing can be a little awkward.  Cooper's reading is joyful
and quite enjoyable.  The special version in this group comes from Suzuki;
he brings out splendidly the delicate nature of the music as well as its
serenity and joy.

The third group finds Leonhardt in a fairly happy mood, although he isn't
the type to display much of the music's delicate element.  Tureck, using
much staccato, finds a large reservoir of good feelings.  Schepkin gives
a lovely reading which is a little too subdued.  Richter supplies much joy
and youthfulness.  This also applies to Fischer although he has a technical
problem for a few seconds starting at 26 seconds into his performance.  No
version is this group approaches either Jarrett or Suzuki.

Update on Jarrett & Roberts - I've thrown these two together because they
have two basic similarities.  First, neither one tends to find the core
of Bach's deepest works.  Second, both have a strong peference for legato
playing.  This works to their advantage in pieces such as the Prelude in
A major which lends itself to the legato approach and is not music of
depth.  Jarrett's superiority in the A major points to an advantage I think
he possesses over Roberts.  Jarrett is the better pianist; his legato is
more seamless and he is much more likely not to engage in any slip-ups
concerning phrasing and flow.  Roberts has received some excellent reviews
for his WTC, but I find that he consistently does not compare well to the
better Bach recording artists.

Fugue in A major - This fugue is in two sections; the first in eighth
notes, the second in sixteenth notes.  Stretto and its inversion are
prevalent; a "zig-zag" motion is continuous.  I still have vivid memories
of Schepkin's A major when I reviewed his Book 1 over a year ago.  His
reading takes only two minutes and is very lively and exhilarating.  It had
me picturing a bogus fortune teller at the end of her workday counting out
her proceeds again and again; I could almost hear the flicking of the coins
off her fingers.  She is enjoying this little exercise, knowing that the
money is not legitimately earned.  When finished, she skips merrily across
the street to the bank to make her deposit.  The woman has little sense of
ethics, knows it, and isn't bothered at all by the fact.

For this series of reviews, I first listened to Horszowski and was somewhat
stunned.  He takes three minutes, and much of the bounce and exhilaration
are gone.  Instead, the reading is stately and quite lovely.  However, I
don't feel that the music well accomodates Horszowski's approach.  Also,
there's little contrast with the A major prelude.  Jando's 2 1/2 minute
performance seems to be in no-man's land; it isn't fast enough to match the
imagery that Schepkin provides nor is it stately like Horszowski's reading.
Jando is basically too heavy in his execution.  Richter's tempo is similar
to Jando's but the heaviness is gone and replaced with a light and delicate
touch.  Jarrett's as quick as Schepkin but he flattens the music, loses the
bounce, and is left with very little.  Tilney delivers a great performance;
his clavichord rings out with happiness and the "flicking" elment couldn't
be stronger.  Leonhardt is very vivacious and filled with joy.  In this
grouping, Tilney and Leonhardt join Schepkin in giving outstanding
readings.

Cooper, like Jarrett, flattens the music but still has plenty of sharpness
from his harpsichord, and the pacing is excellent.  Gould surpasses all
other versions (excepting one) with an infectious rhythm and pin-point
accenting; in his hands, the fugue becomes multi-dimensional.  Also, you
couldn't ask for a better version to investigate the architecture.  Gulda
flies through the fugue, making Schepkin seem like a slow-poke.  It has
some benefits but mainly sounds like a fast-forward approach.  Aldwell
has the flattening bug but compensates with a lovely and dream-like
interpretation.  Roberts has everything in place except that he doesn't
give very much of himself.

One of the things I love about reviewing is I can get to the last group
of performances and already have three great versions and one transcendent
reading in reserve.  And the last group looks very imposing - Schiff,
Hewitt, Tureck, Fischer, and Suzuki.  Andras Schiff is such a pleasure to
listen to.  His reading is pristine, delicate, and throughly irresistable.
Hewitt is very playful and enjoyable.  Remember Horszowski? Rosalyn Tureck
is even slower but she has a much better grasp on the music's architecture.
Accenting is sharp, the zig-zag in full supply, and pure joy is in the air.
Tureck matches Gould in making a full meal out of an appetizer.  Fischer's
performance is light and airy like Richter's and very rewarding.  Suzuki
does well with highly angular performance.  Overall, Gould and Tureck take
first position with Schiff, Tilney, Leonhardt, and Schepkin next in line.
Jarrett occupies the cellar.

Prelude in A minor - Continuing with our fortune teller, there's a warrant
for her arrest for mail fraud.  She's now being chased by the authorities.
She's speeding as fast as she can, but her car is no match for the FBI.
Regardless, she knows every alley and takes them for a wild ride before
being captured.  The left-hand trills at the beginning of the prelude
convey danger and mystery which consistently pervade the music.

Jarrett plays the piece lightly, downplaying its dark emotional core.
Both Jando and Roberts find the dark core; Jando is much better however in
his execution.  Roberts hesitates on occasion and has his awkward moments.
Hewitt is as effective as Jando.  Tilney is too slow and episodic to be one
of the better versions.  Suzuki is much slower than Tilney but does provide
fine continuity.

It's been quite a long time in this review since I was last on the same
wavelength as Horszowski and/or I noticed no problems with his excecution;
this is one of those times.  Horszowski is quite dark and even menacing on
occasion.  In the past, I would have promoted Schepkin's version as one
of the best, but I now find it too tame; also, he has some trill-happy
moments.  Aldwell is on the right track, but I would have liked a faster
tempo.  Schiff provides the speed and the mood, but his right and left hand
interplay sounds a little out of sync.  Fischer's fast and rushed-sounding
performance could have been much better.  Leonhardt takes the menace,
danger, and ugency to the highest levels; there's tension throughout his
performance.

In many respects, Richter's reading is similar to Leonhardt's, but there's
an anger in the Richter which I feel is too pervasive.  It tends to be the
central emotional theme and swallows up the others.  Gulda is excellent -
very dark and ominous.  In all respects but one, the Gould issue is as good
as the Leonhardt; Some of Gould's trills have nothing but "cute" written
all over them.  I found it distracting and very odd for Gould.  Tureck
makes sure that every possible note cuts like a knife.  The atmosphere is
entirely on the edge of panic in this revelatory interpretation.  Add in
the highest levels of musicality, and the result is one of the best
performances I've ever heard from Tureck.

It even beats Leonhardt with ease.  Gary Cooper had the misfortune of being
right after Tureck in my listening regimen, but he does quite well although
he's a little benign.

Fugue in A minor - I could keep going with my fortune teller concerning her
tenure in prison, but I've grown tired of her so I'll just concentrate on
the A minor architecture and general mood levels.  The architectual flow
tends to go like this:  subject - inversion of subject -stretti involving
subject - stretti involving inverted subject - other types of stretti going
through the keys (my thanks to Aldwell's liner notes).  The fugue is not a
happy one; it is primarily very serious with quite a few subtle rays of
light.

We can leave Aldwell aside; he insists on a prevalent key-banging regimen
which is quite annoying.  Jando is better although he doesn't provide much
variety of shading or expression.  Hewitt takes us into a highly expressive
realm with great poetry.  Horszowski provides a more straight-line approach
than Hewitt with top priority on momentum and reaching the conclusion with
inevitability.  This is a very good performance at Hewitt's level.  Tilney
extends the fugue to over six minutes; He's not particularly memorable in
the darker passages, but he finds every ray of light beautifully.  Jarrett
is quick at under 4 1/2 minutes; he sounds like he's just playing around,
pulling rhythms, and waiting for the main event.  In this less than
distinguished group, Hewitt and Horszowski are the most rewarding, but
I'm confident that much better is to come.

Schepkin is as fast as Jarrett but much more poetic and serious as well.
Fischer is less restrained than Schepkin and equally enjoyable.  Roberts is
tasteful and poetic, giving the fugue a relatively high degree of optimism.
Richter places much emphasis on momentum and he's quite assertive; he also
displays a fine degree of tenderness when needed.  Schiff is quick and
incisive, but not as lyrical as his norm.  Leonhardt does very well, but I
would have liked more shading and expressive variety.  The "much better"
hasn't arrived yet.

Gulda uses much staccato in a fine and somewhat militaristic performance.
Gould wins the Speed Award but ends up glossing over some poignant
passages.  Tureck, like Gulda, uses staccato well but her lyricism isn't at
its usually high level.  Cooper is enjoyable but not memorable.  Suzuki's
my last hope for something special but his performance drags at times.

Update on Richter:  Throughout the review, Richter's set has been one of
the better issues.  However, he hasn't been quite as impressive as I might
have anticipated.  There's been some lack of warmth which the recorded
sound likely accentuates.  On the positive end, Richter is always a
commanding guide to Bach's music and has has many insights to offer.

Don Satz
[log in to unmask]