Notes on the interpretations
Andras Schiff (example to the right) is one of the most thoughtful, reflective performers of Bach around. However, he falls clearly on the "Apollonian" end of the performance spectrum, and he is likely to appeal far more to your head than your heart or your gut. His is a very intelligent, reasoned interpretation, but he is rather timid and almost apologetic when it comes to the wild "fantasia" section of the prelude. I do so appreciate his light and clear touch with the fugue, however. |
Glenn Gould (example on the left) is on the opposite end of the spectrum. His prelude begins slow and poky and then throws off all of its clothes in the unbuttoned section. His Fugue is breathlessly rapid, and yes, that is him singing (or is grunting?) along in the background. Gould was always the cranky eccentric, and he tends to invokes extreme passion in his listeners, both love and hate. See how you feel about him, and if you find him intriguing, I recommend the 1993 documentary, " 32 Short Films About Glenn Gould", a fascinating glimpse into the life and work of a man intimately connected with Bach for his entire life.
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In my opinion, Diane Hidy' s interpretation of the prelude (clip on the right) is more faithful to Bach's spirit. She conveys the difficult balance of technical and intellectual control with a deep emotion and physical passion that is the essence of Bach's music. I wish she had brought a more playful spirit to the fugue, however- after all, it is such a jaunty (even dance-like) subject! Here she errs on the side of sobriety.
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Kenneth Gilbert's rendition of these works evokes the clangorous, decadent soundscape of the harpsichord ("like skeletons copulating on a tin roof" said one uncharitable critic about the instrument). Notice what a different timbre the harpsichord has: the thin and tiny strings are plucked with quills rather than struck with hammers, so the sound is sharp at first but evaporates almost immediately.
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Finally, the organ offers the opportunity for the most dramatic rendering of these works, as the sound is sustained through pipes and pedals in such a way that the moments of profound dissonance are maximized. I appreciate Philip Goeth's blend of structure and freedom, and find myself very drawn to this performance, appreciative of his choice of tempi and registration. I love the "tumbling" sensation at the conclusion of the Prelude.
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