Johann Sebastian BACH (1685-1750)
The Well-Tempered Clavier (selections from Book 2) [78:08]
Piotr Anderszewski (piano)
rec. December 2019 & August 2020, Teldex Studio, Berlin
WARNER CLASSICS 9029511875 [78:08]
For his latest Warner Classics album Warsaw-born pianist Piotr Anderszewski returns to Johann Sebastian Bach, playing selections from Book Two of the Well-Tempered Clavier (Das Wohltemperierte Klavier), a landmark work in classical music. A soloist and chamber performer, Anderszewski also directs from the keyboard and composes. He is an artist I have encountered on record but not yet in live recital or concert performance. He is not an especially prolific pianist in the recording studio, nevertheless his albums of Johann Sebastian, Mozart, Beethoven and Schumann are widely acclaimed.
Acknowledged as an exceptional musician on the international stage, Anderszewski began his piano studies at the Chopin Academy, Warsaw and went on to attend conservatories in Strasbourg and Lyon, then gained a scholarship to study at the Thornton School of Music, University of Southern California, Los Angeles. In 2008, when discussing the subject of adding new pieces to his recital programmes, he mentioned that one of the works he wanted to play (and maybe record) was the Well-Tempered Clavier, and he had at one point begun studying it.
In 1722 at Köthen, Bach wrote for solo keyboard a set of twenty-four Preludes and Fugues in all twenty-four major and minor keys. These works were intended for both the training of keyboard students, notably in composition and Johann Sebastian’s tuning system, and for the entertainment of already competent players. Later, around 1738-42 or maybe even 1744, in Leipzig, Bach wrote a further set of twenty-four Preludes and Fugues. The entire collection of forty-eight Preludes and Fugues became known as the Well-Tempered Clavier and is sometimes referred to collectively as the ‘Forty-Eight’ - or ninety-six, if each piece is counted individually. In both books, the works alternate between major and minor keys and were intentionally arranged systematically in ascending chromatic order.
Ever the individualist, for this album Anderszewski ignores Book One completely and has selected twelve pairs of Preludes and Fugues from Book Two only. Comparing both books, the more ambitious Book Two is longer in duration, broader in scope and denser in texture, with an increased technical complexity. Each soloist will view the two books in their own different way; for example, András Schiff sees each tonality corresponding to a distinct colour and another soloist sees each prelude as a door each having a different use. It comes as no surprise that Anderszewski has looked further than Bach formal analytical approach to the ‘Forty-Eight’ and sees the scores as ‘character pieces’. In the full set, Bach, with only seven exceptions, does not indicate tempi, dynamics or articulation, leaving the player free to interpret each piece with its own specific character and providing possibilities which seems to suit this creative soloist down to the ground. Anderszewski positions his chosen pieces using his own sequence based at times on ‘key relationships’ and also ‘on contrasts.’ His rationale is to fashion a feeling of drama, indicative of a cycle, from these twelve pairs of Preludes and Fugues.
Several performances on this album stand out especially, the first two of which were regarded at the time as being amongst Bach’s most modern pieces: the preludes in F minor (track 3) and G sharp minor (track 19) both of which are both have a more straightforward Galante design. Anderszewski revels in the lyricism of the hauntingly beautiful F minor prelude, so calmly uplifting in its character, and in the G sharp minor the soloist produces a piquant style with a sense of the notes just dancing across the page. Marked Largo, the G minor prelude (track 15) has a clear sombreness with an undertow of foreboding, and in the short Toccata-like B major prelude (track 21), one marvels at the deceptive ease of his playing. Noticeably, here, this discriminating soloist does not overstate the percussive nature of Bach’s writing.
Throughout, Anderszewski brings his own personality and insights to Bach’s music, assiduously shaping the poetry and drama in the pieces. With fertile imagination and Implacable musicality, the soloist achieves performances of the utmost sincerity. He illuminates the inner beauty of the pieces using an irresistible palette of colours and lovely tone from his well-regulated piano. This album is unquestionably a voyage of discovery for the soloist and I certainly appreciate being able to accompany him on his journey.
A few words of praise are due to the engineering team using the renowned recording venue the Teldex Studio, Berlin. They achieve an impressively consistent clarity of sound and balance which serves the music very well. For those wanting more in-depth information, the Well-Tempered Clavier has attracted considerable scholarly research over the years and a number of books on it has been published.
My preferred recordings of the Well-Tempered Clavier, in its complete form, have tended to be those played on the harpsichord. If I had to settle on a single recording of Book Two, it would be harpsichordist Kenneth Gilbert’s interpretations, originally released on vinyl in 1984 on Archiv Produktion. Gilbert’s perceptive and captivating performances, beautifully recorded in the Italian Room of Chartres Museum, are admirable. Among those soloists favouring a modern piano, the recording of Book Two I reach for most frequently is by Angela Hewitt, set down in 2008. Using her trademark Fazioli piano, Hewitt’s playing of clarity, insight and elegance was recorded at the famous Jesus-Christus-Kirche, Berlin, on Hyperion.
An insightful player at the peak of his artistic powers, Anderszewski excels in this masterpiece. The soloist’s perceptive musicianship and impeccable technique bestow life and significance upon his hand-picked selections. Playing of this elevated quality does not come along too often.
Michael Cookson
Contents
1-2. Prelude and Fugue No. 1 in C, BWV 870
3-4. Prelude and Fugue No. 12 in F minor, BWV 881
5-6. Prelude and Fugue No. 17 in A flat, BWV 886
7-8. Prelude and Fugue No. 8 in D sharp minor BWV 877
9-10. Prelude and Fugue No. 11 in F, BWV 880
11-12. Prelude and Fugue No. 22 in B flat minor, BWV 891
13-14. Prelude and Fugue No. 7 in E flat, BWV 876
15-16. Prelude and Fugue No. 16 in G minor, BWV 885
17-18. Prelude and Fugue No. 9 in E, BWV 878
19-20. Prelude and Fugue No. 18 in G sharp minor, BWV 887
21-22. Prelude and Fugue No. 23 in B, BWV 892
23-24. Prelude and Fugue No. 24 in B minor, BWV 893
