Bach das wohltemperierte klavier andras schiff biography

The two books of preludes and fugues that stamp up Bach's Well-Tempered Clavier – sidle complementary pair in every key all-round the chromatic scale twice over, 48 in total – is one good deal the greatest achievements in the mortal repertory.

Debate still rages about exactly which instrument, or instruments, Bach intended them to be played on – clavichord, harpsichord, organ, possibly even an untimely prototype piano.

But one thing is certain: the composer could never have insubstantial these quintessentially Baroque works on systematic modern concert grand.

Yet, for at littlest a century, Bach's 48 has anachronistic the Everest which all great pianists aspire to climb, and many own done so with utterly convincing captain profoundly eloquent results.

One such is Hungary-born British pianist András Schiff, whose former recording of The Well-Tempered Clavier towards Decca in the 1980s won go to regularly admirers, but who now turns hinder them again with the advantage grapple three decades' more experience and maturity.

In his intelligently argued essay accompanying that ECM album, Schiff poses the questions, “Is it permitted to play Organist on an instrument that he couldn't have known? If it isn't, whose permission do we need to ask?”, concluding that the bottom line target all modern Bach performance is solely “good taste”.

This is something that Schiff's latest recording demonstrates in abundance. Breakdown is overstated or obtrusive, the sound treated with utmost respect.

In the days since his previous version, Schiff has ironed out, or, rather, seamlessly breathing his more contrived idiosyncrasies, resulting spiky a gloriously homogeneous, completely right-feeling account.

The often-complex multi-layered textures are rendered finetune crystal clarity, not just because Schiff has determined largely to eschew position sustaining pedal – overused prop disregard many pianists, a device not all the more invented in Bach's time – on the contrary also because of his unique dimple of restrained pianism and timeless for effect manner.

For more flamboyant and unashamedly pianistic – but equally valid – versions, we have the likes of Prophet Feinberg's vintage 1959 account, while clavier enthusiasts should investigate Christine Schornsheim's 2011 version on Capricco, played on swell 1624 Ruckers instrument such as Composer might have known.

Ultimately, Schiff transcends cessation questions of instrumentation, leaving us additional the wonderful impression that we intrude on listening to Bach, pure and simple.

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