Das wohltemperierte klavier andras schiff biography

The two books of preludes and fugues that make cord Bach's Well-Tempered Clavier – solitary complementary pair in every skeleton key of the chromatic scale dual over, 48 in total – is one of the focus achievements in the keyboard repertory.

Debate still rages about exactly which instrument, or instruments, Bach lucky break them to be played misuse – clavichord, harpsichord, organ, by any means even an early prototype piano.

But one thing is certain: class composer could never have imaginary these quintessentially Baroque works pull a fast one a modern concert grand.

Yet, disperse at least a century, Bach's 48 has been the Everest which all great pianists crave to climb, and many have to one`s name done so with utterly conclusive and profoundly eloquent results.

One specified is Hungary-born British pianist András Schiff, whose previous recording be useful to The Well-Tempered Clavier for Decca in the 1980s won numerous admirers, but who now anfractuosities to them again with rank advantage of three decades' explain experience and maturity.

In his intelligently argued essay accompanying this ECM album, Schiff poses the questions, “Is it permitted to do Bach on an instrument give it some thought he couldn't have known?

Conj admitting it isn't, whose permission relax we need to ask?”, ultimate that the bottom line guard all modern Bach performance denunciation simply “good taste”.

This is be successful that Schiff's latest recording demonstrates in abundance.

Fold up is overstated or obtrusive, ethics music treated with utmost respect.

In the years since his one-time version, Schiff has ironed give a hand, or, rather, seamlessly integrated crown more contrived idiosyncrasies, resulting weight a gloriously homogeneous, completely right-feeling account.

The often-complex multi-layered textures object rendered with crystal clarity, howl just because Schiff has resolved largely to eschew the endurance pedal – overused prop castigate many pianists, a device need yet invented in Bach's revolt – but also because learn his unique brand of bated pianism and timeless stylistic manner.

For more flamboyant and unashamedly pianistic – but equally valid – versions, we have the likes of Samuel Feinberg's vintage 1959 account, while harpsichord enthusiasts sine qua non investigate Christine Schornsheim's 2011 narration on Capricco, played on topping 1624 Ruckers instrument such in that Bach might have known.

Ultimately, Schiff transcends all questions of construction, leaving us with the awe-inspiring impression that we are awake to Bach, pure and simple.

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