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Welcome back, Chris. I sensed that this Tureck thread can bring you back sooner or later.
By the way, our good friend goofyfoot made me discover that a very fine Japanese harpsichordist, specialised on Bach, Mrs. Mayako Sone had recorded, in SACD format (I trust the first and only one on harpsichord), the First Book of the WTC, on the Japanese Avex-classics. Not too expensive and available by Japanese sites. I believe would be an exceptional production of the work on this instrument. I have already ordered it and wait for the outcome...
Yes, the mention of Bach, the 48 and Tureck proved a bit too much for me too...
I'm glad your health has improved. Now that the body is amended, your spirit might want a bit of "refreshment"?
I would certainly be up for a continuation on the 48. Not just yet as my life needs to settle down a bit, but soon enough if you guys are still up for it. There is so much goodness to come!
See you soon!
'if you guys are still up for it. There is so much goodness to come!'
Fine. With the three of you (Camaron, Parla, Goofyfoot) we have a quorum!
It's really your thread Camaron, so whenever you are ready we can renew the adventure!
Goofyfoot, did you see my note about the upcoming re-issue of the Tureck '48'?
All the best and thanks for your good wishes!
Great! back in two-three weeks ready for more from our incomparable Bach....
Yes, I believe so Chris and I've seen that DG release for sale on the internet with positive reviews. It would be worth having the 1952 set plus the newer recording side by side.
I guess we have a "quorum", Chris. Normally and at a consistent level, the exchanges do not exceed the 4-6 members. Maybe, some more might pop up, at a certain time.
So, we're waiting for camaron to restart the engine...in due course.
In between, as a defender of the harpsichord here (since Socrates is no longer with us), I bring to the attention of anyone interested that Linn is going to release soon another WTC (both Books) with John Butt, his main soloist on the instrument. It is not going to be in SACD format but I trust it is going to be an exceptional recording anyway. John Butt is a quite solid and sure player of the instrument and I sense it should be a very interesting rendition of this monumental work.
Just few months ago, another superb harpsichordist, Mr. Kenneth Weiss, introduced his vision of the "48", in a new brilliant recording on the marginal label Satirino. It is a very viable performance and recording. (Anytime soon, I'm expecting Mayake Sano's SACD recording, on Avex-classics).
Finally, on the Piano side, the very interesting Polish pianist Piotr Anderszewski is returning to Bach (on Erato) with his second volume of the English Suites (Nos 1, 3 & 5), after more than 10 years of his first volume! Intriguing enough!
Parla, yes four or five really interested participants are plenty for a serious discussion! And, unaccountably, apologies, but I omitted to mention you, Shamrock. Far away you may be but as a Bach and Tureck devotee you will be a most welcome member of our discussion group if you'd like to join in. I think we got about half way through Book I before they closed the Forum down for renovation of the website. Anyway (a belated) welcome!
It's interesting that it seems that the WTC is better served by recordings on the piano than on the harpsichord. Wonderful versions by, besides Tureck, Richter, Gulda, Edwin Fischer (old but still superb) and two by Angela Hewitt provide a solid base with numerous others (most if not all have been enumerated by Parla) providing interesting contrast. On the other hand I'm still searching for the ideal harpsichord version. Leonhardt of course, austere but satisfying, is always a safe pair of hands, but for something a little more extrovert but not mannered, few of the versions I've heard seem satisfying. Perhaps the problem is that, although obviously not written with the piano in mind, the piano does seem to make it possible to reveal the different strands of the polyphony with greater clarity than the harpsichord, where there is no real variety of touch possible. That 'homogeneity of sound' you referred to Parla is, I suppose, a mixed blessing.
Anyway, we'll see again, one Prelude and Fugue at a time, once Camaron is ready.
Parla, back to the piano, and I very much agree with you about Anderszewski: superb in everything he touches. And the English Suites are perhaps the most neglected of Bach's keyboard works, not so extrovert as the French Suites nor so richly impressive as the Partitas, but full of wonderful music.
Could one or more of you single out the fortepiano versions?
Are there any?
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