Thanks for that Joe. I concur with most you say. I'm definitely still not happy with both the G major preludes. But I'm beginning to doubt that I can play them any better for now, especially that devilish one from Book I. And yes the trills in the G minor prelude are not as absolutely even as they should be. Again, I'm not sure they will ever be. As I mentioned before I find this music harder the deeper I get into it, and the nearer I get to perfection, the further away it seems (what a frustrating paradox.....).

Yep. Its asymptotic.

That is such a typical hyperbole

I've re-recorded both the G major preludes and the G major fugue of book II. Not to say they are now anywhere near perfect (I can't say which one of the G majpr preludes frustrates me most) but I believe they are better than before.

Bach - BWV 860 - Das Wolhtemperierte Clavier I - Prelude and Fugue No.15 in G major (4:04)
Bach - BWV 884 - Das Wolhtemperierte Clavier II - Prelude and Fugue No.15 in G major (4:42)

Hi Chris,
sorry, that I´m so quite late with my reply, but I have so much things to do at this moment we have visit from Switzerland, birthdays a. s. o.
To BWV 860: that´s a splendid performance. What do you want more concerning the prelude? For my taste it sounds excellent and has some subtle musical moments! Concerning the fugue it´s always the same difference between us (for me the artistical interpretation is mainly in voicing), but I have enjoyed your version very much.
To BWV 861:
Prelude: the trills at the beginning are a bit loud, so that they cover the main-voices a bit, later it becomes better. Very lyrical and nice playing.
Fugue: very nice performance with a slip at 3:30. The contemplative tempo is adequate IMHO.
To BWV 884: I like this interpretation of the prelude a lot. Very good ornamentations in the repeats. Absolute clear articulation, bravo!
I´m also working on the re-recording of this prelude and I think, my version will be quite close to the manner of yours. I also had the idea of first time playing legato and second time with some non legato here and there.
The tempo of the fugue is quite slow (and it´s quite rare, that me, I´m the one, who has to tell that). But I enjoyed this interpretation, which seems like a profound study of the piece to me. Splendid! The lyrical end is unusual and that makes it absolute interesting! Continue so.
BWV 885: I´m glad, that I have another idea of that piece finally again than you. But your version is convincing, though it´s not in the rhythm of a French Ouverture, which should be, I´m quite sure. (I take a slower tempo and do a lot with dynamics and inner voicing differenciation here.)
Fugue: the third entry of the subject at the beginning should be voiced out all the time. At 3:38 and 3:41 I have realized slips respective mistakes, I think. At 4:03 the bass run isn´t proper. At 4:50, 51 there are some mistakes overcovered with pedal. Sorry, that I´m working with time-markings and not with bars. But I know that piece by heart again and so I know, where are the imperfections. Though this performance has some nice musical moments, it could partly be overworked from my view. For me the voicing here is immensely important.
(I think, my version also is ready for recording, I´m just waiting for a day, I will find enough time for a recording-session. I´m also working on Brahms, first sonata for clarinet and piano with my colleague again.)

Thanks for the feedback Andreas. You're right about the trills in the G minor prelude, they are too loud. And yes there are 2 or 3 tiny imperfections in two of the fugues. I guess they slipped past me while recording, as principally I don't allow any wrong notes anymore and would have corrected had I heard them. I'm glad the two G major preludes can pass muster now, took me a great log of determination to get the better of them. As for voicing, yes, you do that better than I can.

I'll be very interested to hear your Brahms clarinet sonata. I've worked on this piece so hard, it has some fearfully difficult moments.

They do sound absolutely great now!



Yes, it´s quite virtuoso for piano and I have to admit, that I have much more to fight with it than my colleague. (I think he is on the clarinet better than me on the piano. But on the other side, on the piano one has to play more tones, isn´t it?! )
Especially in the middle there is a passage (I think, it´s in the execution) I don´t feel to well with, especially in a higher tempo.

(I will step to your a-flat-pairs the next days, today we had a children´s birthday and the only thing I can do now is falling into bed - after having drunk a glass of "43". )

Haha, flattery will get you nowhere ! But good to hear anyway.

Those must be bars 183-186/ Pretty horrific even without the devilish cross-rhythm.

Goshdarn, is that bottle still not empty yet ? You're useless

I´m more thinking of bars 116-122, somehow I can´t get to well the little third runs between. But bars 183-186 are the second virtuoso place.



I was talking of a second bottle I have bought myself after having enjoyed the one you brought me. Phew, seems I´m not too useless. (And now I´m telling you something very secret: I like to mix it up with some milk in the last time, that gives a nice cocktail. )

Oh yes that is heavy too. Not to mention that the middle notes of the chords must be kept down.

Oh that is better

Hello Chris,

I listened to all four Preludes and Fugues in your set.

You are very consistent in your specific articulations throughout all your playing and this is very effective. It creates an almost visual, architectural sense of the pieces. You follow through with your ideas.

There are one or two spots that could have been a bit more even but the playing on the whole is extremely professional. The music unfolds through your technique which unveils many nuances while always staying within the main idea.

The character you bring out of each prelude and fugue is unique and fitting. There is great care in your playing. The tone is beautiful and you convey a range of moods. 

Everything seems appropriate in the execution of the embellishments. They are so carefully laid out and planned while sounding natural. That is another paradox of your interpretation. You make something sound natural while at the same time playing in a manner that impresses with the perfectly timed trills, or staccatos articulated for long phrases with exact duration and tonal roundness.

I am really impressed by your hard work and success.

Kaila Rochelle

Wow thank you Kaila ! That is a rave review if ever I got one
It seems almost too much praise - I can't believe they are that good. The more I get into this music, the more elusive it seems despite all the hard work and dedication. But I believe these are not bad, and I like to think old JSB would have approved of them (grudgingly maybe, he would have had some nits to pick).

Chris,

While not perfect, it was none-the-less a beautiful performance. Your thoughts were very well organized.

-Kaila