Thanks again for your meticulous feedback Andreas. I was half hoping you'd pass on this lot and save me some work
BWV 852, prelude: wow, this is a quite excellent recording, the voicing has much improved! There are some places it could be done more of it like f.ex. in bar 53 ff., tenor. A bit of a pity is, that some of the nice rubati of your old version get less respective lost.
Yes that one had its merits too. In avoiding the 'hesitations' I maybe cut out some of the agogics.
BWV 853, prelude: very lyrically and musically played! But I play this like a French Ouverture with the double dotted rhythm and I think it has to played like this, isn´t it?!
Not sure. I usually simply play what's written...
fugue: good, but with the usual lack of voicing (at least it´s not clear enough).
Hm. I thought I was doing quite well there... Maybe not. Definitely I do not want the fugue voice to drown out everything else. I heard that recently in a recording by Rosalyn Tureck, and thought it was awful. Every time the fugue voice came out, all else was reduced to background murmur.
BWV 876: I play this a bit faster than you, in this tempo it looses quite much tension and interest IMO, especially in the second half (here you still become a bit slower here and there). The eights bars 21 ff. in the bass are often too long, I think. But in summary a good recording. Of course, tempo is just a matter of taste.
It is. I find your version rather too fast.
BWV 877: prelude: nice way to play it in summary, though I will interprete it in another way! The tempo is definitively a bit too high for the 32nd notes at many places (respective you would have to practise them a bit more, because they are quite unprecise), increasingly in the second half. Don´t take any pedal during these 32nd-runs, because it all are runs of seconds! In bar 23 it´s c double sharp on the 3rd beat, you seems to play c sharp there, isn´t it? The mordents often are too weak/unprecise.
I was not quite convinced of this recording either and planned to redo it anyway. Thanks for pointing out that read error.
fugue: there are some nice attempts of voicing, but it could be much clearer at some places. At some places the voicing is really good! The tempo is quite slow here, but it´s possible. In summary a convincing version! In bar 30 you play a sharp instead of a natural on the first beat. In bar 32 the last note in the soprano is a f double sharp, not f sharp like you play. In bar 34 I play b natural in the soprano on the second beat, because the # is in brackets in my Henle-editon, but you also can choose the h sharp, of course. In bar 40, second half there are some notes too weak respective inaudible (where they all right?). In bar 44 you play on the 2nd sixteen-note in the alto a f sharp instead of a g sharp. I think, this one could be rerecorded because of too much wrong notes.
Generally I like my slow fugues really slow
Again I thought the voicing here was good but maybe not. As you say it needs redoing if only for the read errors. I can't understand how I could have left in that stupid mistake in bar 44
As for bar 34 I've always played the B-sharp but B naturalsounds good too. Both ways have their own attraction.
I will try some takes on BWV 877, too, this evening, if I find some time. I have played this pair also during my studies in Cologne so I´m very familiar with it. See you!
Ok, enjoy. Personally I can get really lost in this fugue (lost in the good sense, in that I forget everything else).