Bach: The Well Tempered Clavier Book II

Editorial Reviews
Amazon.com
Schiff plays the 48 preludes and fugues on the piano, with the utmost sensitivity to voicing and the phrasing of counterpoint. He coaxes a lovely sound from his instrument (better captured in the 1985 recording of Book II than in the preceding year's takes of Book I), and the experience of following him as he explores each piece is exceptionally rewarding. --Ted Libbey

Tracks:

Grace
Concerto In D Minor For 2 Mandolins: Andante
The Legend Of Tsar Saltan: Flight Of The Bumblebee
Stars
Hush Little Baby
Vocalise
Notebook For Anna Magdalena Bach: Musette
Coyote
Sonata For 2 Cellos: Allegro prestissimo
Ave Maria
Hoedown!
Orchestral Suite No. 3: Air
Good-Bye

Amazon.com

The idea here was to put two masters together--one classical cellist, one improvisational singer/sound-effects performer--and voilà! instant amazing, unique, hip--and, hopefully, hit--record. The intriguing setup was to see what would happen when each led the other through the unfamiliar territory of his own specialty. The success of this recording lies not so much in the music or even in the overall performances, but in the fascinating and fun opportunity to sit in on the musicians' good-natured, respectful give-and-take, to witness an uncommon form of artistic chemistry that allows each performer to expand his vision and even his technique. On one hand we get Bobby McFerrin's impressionistic, improvisatory jazz/pop; on the other we enjoy Yo-Yo Ma's highly refined, formalized musicianship. Originally planned as a disc for children, Hush goes far beyond its initial premise, with each of the 13 tracks demonstrating these musicians' unique gifts and showing that, whether it's Vivaldi or jazz, it's all music and it's all a lot of fun. --David Vernier

Customer Reviews:

Yo-Yo Ma and Bobby McFerrin.......2007-05-12

This CD is one of my favorites. I give it away and buy another. Playful and fun as well as great music. It never fails to make me laugh. A joy. If you aren't a little silly, don't bother. Kids love it, too.

Yo-Yo keeps on experimental.......2006-03-04

One of the best parts of a genius is to try out of his layers. In this case Yo-Yo tried to go out from the classic, and with a very good singer, in a easy say, as Bobby. They make a very special music between classic and jazz, with some elements of pop.
It's an incredible fusion of strings and vocal strings, in some moments it is not possible to separate them, some times is like a big keyboard directed by a single musician. In a word, they experiment, and the result was incredible.

This is no "Don't Worry, Be Happy".......2005-10-23

Have never been a big Bobby McFerrin fan, probably due to that god-awful, "Don't Worry, Be Happy." But I am a classical music junkie and one day listening to our local classical station I heard a selection that I thought was the most beautiful thing I had ever heard. What a shock when I learned that it was McFerrin and Yo-Yo Ma doing Vivaldi's Andante!

Honestly, I could do without the non-classical pieces on this CD...although I enjoy them.

But the classical interpretations are some of the most heavenly, wonderful, beautiful, awe-inspiring things that I have ever heard, on any CD, in any genre! Yes, that good!

McFerrin uses his voice as the perfect instrument and accompanient to Ma's cello. They were made for each other.

Listen to the samples of the classical pieces if you're a doubter...

Excellent CD!.......2005-09-22

While I admit to being a newbie in my connoisseurship of the classical music genre, not only do I think that this disc is a good collection of some of the best classical music ever written, it is actually FUN sometimes, with silly bits thrown in by Bobby and Yo-Yo Ma every now and then! These guys make great music and have a great time making it.

Bobby uses his voice as a fantastic sounding 'instrument' to sing notes much like an instrument playing a duet with Yo-Yo; sometimes his voice sounds so much like a real instrument that you even forget that you are hearing vocals--I don't even know what other vocalist could pull this off. It is a fascinating experiment. I recommend it highly!

My 1st introduction to Bobby McFerrin (3.5-4 stars).......2005-05-29

I think I kinda heard this back in elementary school (maybe like in the 2nd, 3rd, 4th grade or so, I get kinda mixed when I say that), it's like sumthin I never heard be4, A guy who sings, scats and does it all goes by the name Bobby McFerrin and a cellist by the name of Yo Yo Ma. I'd have follow thru his work as a cellist/string player from various TV apperances, shows, movies, etc. and he does sounds good 2 this day, believe me.

Anyway as I was gonna say this was the 1st album I got introduced a bit by Bobby McFerrin. Not SIMPLE PLEASURES nor SPONTANEOUS INVENTIONS. Just this 1. I hope to hear more from him and collect all of his albums incl. Yo Yo Ma's. They still sound good. No doubt.

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II

Average customer rating:

Recommended
Gould brings the voices out
My Favorite WTC
Superlative Gould, but bad Bach.
Please consider the version by Andras Schiff...

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II
Johann Sebastian Bach , and Glenn Gould
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book I
A State of Wonder: The Complete Goldberg Variations (1955 & 1981)
Art of the Fugue - 70th Anniversary Edition
French Suites - 70th Anniversary Edition
Bach: English Suites, BWV 806-811

ASIN: B0000028NJ
Release Date: 1994-01-11

Tracks:

Prelude And Fugue No.1 In C Major, BWV 870: Praeludium
Prelude And Fugue No.1 In C Major, BWV 870: Fuga
Prelude And Fugue No. 2 In C Minor, BWV 871: Praeludium
Prelude And Fugue No. 2 In C Minor, BWV 871: Fuga
Prelude And Fugue No. 3 In C-Sharp Major, BWV 872: Praeludium
Prelude And Fugue No. 3 In C-Sharp Major, BWV 872: Fuga
Prelude And Fugue No. 4 In C-Sharp Minor, BWV 873: Praeludium
Prelude And Fugue No. 4 In C-Sharp Minor, BWV 873: Fuga
Prelude And Fugue No. 5 In D Major, BWV 874: Praeludium
Prelude And Fugue No. 5 In D Major, BWV 874: Fuga
Prelude And Fugue No. 6 In D Minor, BWV 875: Praeludium
Prelude And Fugue No. 6 In D Minor, BWV 875: Fuga
Prelude And Fugue No. 7 In E-Flat Major, BWV 876: Praeludium
Prelude And Fugue No. 7 In E-Flat Major, BWV 876: Fuga
Prelude And Fugue No. 8 In D-Sharp Minor, BWV 877: Praeludium
Prelude And Fugue No. 8 In D-Sharp Minor, BWV 877: Fuga
Prelude And Fugue No. 9 In E Major, BWV 878: Praeludium
Prelude And Fugue No. 9 In E Major, BWV 878: Fuga
Prelude And Fugue No. 10 In E Minor, BWV 879: Praeludium
Prelude And Fugue No. 10 In E Minor, BWV 879: Fuga
Prelude And Fugue No. 11 In F Major, BWV 880: Praeludium
Prelude And Fugue No. 11 In F Major, BWV 880: Fuga
Prelude And Fugue No. 12 In F Minor, BWV 881: Praeludium
Prelude And Fugue No. 12 In F Minor, BWV 881: Fuga

Tracks:

Prelude And Fugue No. 13 In F-Sharp Major, BWV 882: Praeludium
Prelude And Fugue No. 13 In F-Sharp Major, BWV 882: Fuga
Prelude And Fugue No. 14 In F-Sharp Minor, BWV 883: Praeludium
Prelude And Fugue No. 14 In F-Sharp Minor, BWV 883: Fuga
Prelude And Fugue No. 15 In G Major, BWV 884: Praeludium
Prelude And Fugue No. 15 In G Major, BWV 884: Fuga
Prelude And Fugue No. 16 In G Minor, BWV 885: Praeludium
Prelude And Fugue No. 16 In G Minor, BWV 885: Fuga
Prelude And Fugue No. 17 In A-Flat Major, BWV 886: Praeludium
Prelude And Fugue No. 17 In A-Flat Major, BWV 886: Fuga
Prelude And Fugue No. 18 In G-Sharp Minor, BWV 887: Praeludium
Prelude And Fugue No. 18 In G-Sharp Minor, BWV 887: Fuga
Prelude And Fugue No. 19 In A Major, BWV 888: Praeludium
Prelude And Fugue No. 19 In A Major, BWV 888: Fuga
Prelude And Fugue No. 20 In A Minor, BWV 889: Praeludium
Prelude And Fugue No. 20 In A Minor, BWV 889: Fuga
Prelude And Fugue No. 21 In B-Flat Major, BWV 890: Praeludium
Prelude And Fugue No. 21 In B-Flat Major, BWV 890: Fuga
Prelude And Fugue No. 22 In B-Flat Minor, BWV 891: Praeludium
Prelude And Fugue No. 22 In B-Flat Minor, BWV 891: Fuga
Prelude And Fugue No. 23 In B Major, BWV 892: Praeludium
Prelude And Fugue No. 23 In B Major, BWV 892: Fuga
Prelude And Fugue No. 24 In B Minor, BWV 893: Praeludium
Prelude And Fugue No. 24 In B Minor, BWV 893: Fuga

Amazon.com

Glenn Gould's Bach is by now so ingrained in the 20th-century musical consciousness that it's almost hard to remember just how unusual his devotion to this composer was back in the 1950s and '60s when he first started making records. That his Bach recordings are still the standard by which all others are measured is a tribute to his self-awareness as an artist. If you are looking for the essential Glenn Gould playing Bach, then the three sets you really ought to have are his Goldberg Variations (either version), plus the two books of The Well-Tempered Clavier. Gould was simply incomparable in the contrapuntal intricacies of Bach's fugal writing, and in The Well-Tempered Clavier he has 48 opportunities to strut his stuff. He makes a show of every one. --David Hurwitz

Customer Reviews:

Recommended.......2004-08-24

Why is the Well-Tempered Clavier 2 not as famous as the first Well-Tempered Clavier? I dont know. But just to let you know, I prefer Glenn Goulds recording of this 2nd Clavier book over the first. There are many reasons. The first is that Glenn Gould takes a good tempo on almost all of the preludes and fugues, unlike on the first book. Dont get me wrong though, the first Well Tempered clavier vol. 1 recording is also one of my favorite recordings. The second reason is that he does a VERY GOOD job on bringing out the voices in the fugues of book 2. The third is that there is wonderful sound quality. There are also many other reasons, but I cant name them all right now. I just happen to like this recording better...HIGHLY reccomended.

Gould brings the voices out.......2003-05-12

If you can get by the sound of Gould's own voice as he hums throughout you will get to feast on the genius of Bach's counterpoint. I don't know that I've heard another performer more evenly and distinctly bring out each voice in Bach's keyboard works. The recordings have been excellently remastered from the early originals.

I feel that Bach's early music had a more effortless and sometimes wistful or inspired quality than his later works. However, his later works seem much deeper in thought and character and emotion and skill than the earlier ones. I would have to say that if forced to choose I take the later works (Amazing Mass in B minor, Art of Fugue) including the later set of Preludes and Fugues performed here by a Bach master. I would never force myself to make that choice, however. Pick this one up and hear the voices sing (including Gould's, ouch!).

My Favorite WTC.......2003-03-25

The music of JS Bach is extremely interesting, and one thoughtful listening to his works has the power to change the way you hear and perceive music forever more. Bach's keyboard works are typically polyphonic, and that basically means two melodies, or more acurately stated, two musical thoughts, are presented simultaneously. The resulting musical edifice has the potential to sound like, how does one say? "too many notes". Because of the very nature of counterpoint, the simple elegance of Mozart, or the heart-tugging in-your-face-passion of Beethoven, are not as accessible to the average listener. But there is an unmistakable breadth and vitality found in Bach's musical counterpoint, conjoined with a unique grandeur and nobility, that can move and uplift the spirit in a way that is entirely unique.

The Well Tempered Clavier (WTC) consists of two books, both of which are comprised of a prelude and fugue written in each of the major and minor keys of western music. Because there are twelve major keys, and twelve related minor keys, each book of the WTC is comprised of 24 prelude and fugues. One enjoyable aspect of the WTC for the new listener is that, because all of the major and minor keys are presented in a systematic way, one is able to discern what is most appealing to the listener's unique sensibilities. Perhaps you will find that you prefer major to minor, or vice versa. Perhaps you will find a handful of key signatures that you think are preferable, and that can be the foundation for further exploration into other pieces of music written in the same key.

I own a number of recordings of J.S. Bach's WTC. I happen to like book II better than book I, and this rendition is undoubtedly my favorite of them all. Gould's sense of rhythm is impeccable, and it is that aspect that makes this recording so stunning. The pulse is extraordinary, the ornamentation is played with extreme verve, and Gould's technical abilities and musicianship are more than adequate to keep strict time throughout. I also really appreciate the fact that Gould keeps his foot off the pedal, unlike Richter, or Fischer, or any number of the other standard recordings. A powerful and distinct rhythmic momentum should be felt throughout these works. It is also essential to maintain the clarity of each voice, and the pedal, or reverberation in general, can obscure both rhythm and clarity in the context of polyphonic music. Gould is able to bring distinctness to each voice in a way that is entirely unique.

With that said, Gould does have some singular ideas about tempo. Sometimes it works, sometimes not. For an incredible example of when it works, listen to to his remarkable rendering of the prelude and the fugue in C#-Major. Both, but particularly the fugue, are taken at extremely slow tempos. The result is extraordinary. This is hands down my favorite recording of Bach's WTC. In my opinion, no other recording compares to this one.

Superlative Gould, but bad Bach........2003-03-07

Once again, David Hurwitz is pushing his personal agenda. Do NOT purchase these discs unless you already own several sets of the 48 and want a truly unorthodox view that belies the intent of the music. After staying away from Gould's interpretations of Bach's major keyboard works for some years, I recently decided to revisit them. Unfortunately, my impression of Gould's interpretations hasn't improved over the years. There is some incredible pianism on these CDs, and Gould's insights are often revealing. Nonetheless, the eccentricities and musical anomalies are too numerous and prohibitively distracting. What's more, the plaintive vocalizing is annoying, to say the least. This may be a must for Gould fans, but not for the rest of us. If you want something truly legendary in this repretoire, buy Edwin Fischer's classic recordings from the 30s. Or, if you want digital sound, Angela Hewitt's performances are beyond reproach.

Please consider the version by Andras Schiff..........2002-08-05

I am a person who will not keep multiple versions (by different performers) for a specific record, and this is the version that made me spent extra! I always believe that if I commit a purchase, that will be the only copy that will keep me accompany for many years, and I would rather spend the money on other recordings and give myself more variety in classical music. To be fair, I have to admit that I canýt tell how well he had interpreted this work by Bach, as commented by many other reviewers. As far as I am concern, in term of personal preference and individual expectation, this set had failed me completely!

I bought both WTC Book 1 and 2 by Glenn Gould recently but was extremely disappointed. I like the music very much but I hate the way he played this beautiful piece. It is annoying and frustrating to hear the mumbling throughout his playing! Guess what I did after listening to all the 4 discs? I went to buy WTC Book 1 again by Andras Schiff (London Decca) and immediately I realize the differences - Schiffýs version is definitely the version that I will strongly recommend. Just few words to describe ý Clarity, Pleasant, and Excellent Recording!!! I have no hesitation to buy the Book 2 (by Andras Schiff too).

Tracks:

Domine salvum fac
Et incarnatus est, Crucifixus
Ideale
Ave verum
Tui sunt coeli
Ave verum
Crucifixus
Crucifixus
Pie jesu
Hostias et preces
Preghiera
Ave Maria
Incipt lamentatio
Laudamus te
Improperia
La cruda mia Nemica
Oremus pro pontifice
Pope Leo XIII

Customer Reviews:

For historical reference, a must have........2007-05-09

If you're looking for the best quality recording, it's not due to the recording technologies of that time; Allessandro Moreschi died in 1922. But, if you want to hear how a castrato could sound like, it's a great recording reference. Sound quality is average; a lot of hiss and clicks. The singer or the singing "seems" average too: a lot of scooping (remember: different times, different singing techniques, different tastes; could be the result of singing in the acoustics of the Sistine Chapel). But, I don't regret my choice because I wanted a recording I could go back to and appreciate the evolution of singing throughout history.

A real rarity.......2007-05-07

Very interesting and rare recordings of the last castrato, even if his voice was at that time already rather exhausted. The most fascinating thing is to hear from living the voice of a Pope of the XIXth Century as Leo XIII was.

a voice teacher and early music fan.......2006-10-03

Professor Alessandro Moreschi (1858-1922),made in 1902-3 about 10 recordings all devoted to 19th century religious music. For us today the great question is: how far do Moreschi's records allow us to form any notion of the characteristics of castrato singing in the great periods? To that question there can be no certain answer, but I think that the resemblance must be slight! To begin with Moreschi's technique, far from being impeccable, often sounds shaky; in some passages he fumbles for his notes and wavers almost comically as Florence Foster Jenkins herself. These vocal shortcomings can hardly be ascribed to the singer's advanced age, for in his mid-forties he ought to have been not far past him prime. Ancient though the records are, they are reasonably well-recorded and probably give a fairly accurate impression of Moreschi's tone quality, if not his volume. The voice, unquestionably a soprano, resembles that of neither boy or woman, being stronger than the one and less sauve than the other. And I am totally sure that he is a long way from Farinelli. He is surprising, but never exquisite. The most painful for me to listen to were:'Ave Verum' Mozart- 'Crucifixus' from 'Petite Messe Solenelle' Rossini-and 'Ave Maria' Schubert. My problem with this disc is no doubt the fact that I would not want anyone to think that Moreschi's voice even in his prime was in any way equal to the great castrati singers of the 17th century!!!!

What a beautiful voice!.......2005-08-16

Moreschi's voice is incredibly beautiful. You have to get beyond the fact that this is an old recording and just listen to him hit those high notes without sounding shrill or breaking apart. In the end, this is your only chance to listen to a real castrato, and a good one at that.

A new world opened in front of me........2005-08-16

As a long-time lover of classical music but an amateur in opera I got interested into the opera voices and the castrato voices especially since I read a book about the castratos (Anne Rice: Cry to Heaven).
I was at first slightly shocked about the CD. Spoiled by our standards today I had to get used to the voices and especially to the low quality of the recordings (1902-04). The more I was listening the better I liked it. I started to understand that this long ago poeple were feeling different and therefore singing different. So many more emotions and so much suffering, you can hear it in the music if you can open up to it and, ignore the bad technical part of it.
I don't regret buying this rare recording since it gave me more than just music.
Thanks for saving these recordings and thanks to Amazon for making it possible to buy them.

Average customer rating:

A delight to both mind and ear
PREDICTABLY EXCELLENT
Great Set
Beautiful interpretation
Natural, mellifluent

Bach: Well-Tempered Clavier, Book 2

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Bach: The Well-Tempered Clavier (book 1)
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ASIN: B00000JLKC
Release Date: 1999-07-13

Tracks:

Das Wohltemperirte Clavier: No 1 In C Major Prelude
Das Wohltemperirte Clavier: No 1 In C Major Fugue
Das Wohltemperirte Clavier: No 2 In C Minor Prelude
Das Wohltemperirte Clavier: No 2 In C Minor Fugue
Das Wohltemperirte Clavier: No 3 In C Sharp Major Prelude
Das Wohltemperirte Clavier: No 3 In C Sharp Major Fugue
Das Wohltemperirte Clavier: No 4 In C Sharp Minor Prelude
Das Wohltemperirte Clavier: No 4 In C Sharp Minor Fugue
Das Wohltemperirte Clavier: No 5 In D Major Prelude
Das Wohltemperirte Clavier: No 5 In D Major Fugue
Das Wohltemperirte Clavier: No 6 In D Minor Prelude
Das Wohltemperirte Clavier: No 6 In D Minor Fugue
Das Wohltemperirte Clavier: No 7 In E Flat Major Prelude
Das Wohltemperirte Clavier: No 7 In E Flat Major Fugue
Das Wohltemperirte Clavier: No 8 In D Sharp Minor Prelude
Das Wohltemperirte Clavier: No 8 In D Sharp Minor Fugue
Das Wohltemperirte Clavier: No 9 In E Major Prelude
Das Wohltemperirte Clavier: No 9 In E Major Fugue
Das Wohltemperirte Clavier: No 10 In E Minor Prelude
Das Wohltemperirte Clavier: No 10 In E Minor Fugue
Das Wohltemperirte Clavier: No 11 In F Major Prelude
Das Wohltemperirte Clavier: No 11 In F Major Fugue
Das Wohltemperirte Clavier: No 12 In F Minor Prelude
Das Wohltemperirte Clavier: No 12 In F Minor Fugue

Tracks:

Das Wohltemperirte Clavier: No 13 In F Sharp Major Prelude
Das Wohltemperirte Clavier: No 13 In F Sharp Major Fugue
Das Wohltemperirte Clavier: No 14 In F Sharp Minor Prelude
Das Wohltemperirte Clavier: No 14 In F Sharp Minor Fugue
Das Wohltemperirte Clavier: No 15 In G Major Prelude
Das Wohltemperirte Clavier: No 15 In G Major Fugue
Das Wohltemperirte Clavier: No 16 In G Minor Prelude
Das Wohltemperirte Clavier: No 16 In G Minor Fugue
Das Wohltemperirte Clavier: No 17 In A Flat Major Prelude
Das Wohltemperirte Clavier: No 17 In A Flat Major Fugue
Das Wohltemperirte Clavier: No 18 In G Sharp Minor Prelude
Das Wohltemperirte Clavier: No 18 In G Sharp Minor Fugue
Das Wohltemperirte Clavier: No 19 In A Major Prelude
Das Wohltemperirte Clavier: No 19 In A Major Fugue
Das Wohltemperirte Clavier: No 20 In A Minor Prelude
Das Wohltemperirte Clavier: No 20 In A Minor Fugue
Das Wohltemperirte Clavier: No 21 In B Flat Major Prelude
Das Wohltemperirte Clavier: No 21 In B Flat Major Fugue
Das Wohltemperirte Clavier: No 22 In B Flat Minor Prelude
Das Wohltemperirte Clavier: No 22 In B Flat Major Fugue
Das Wohltemperirte Clavier: No 23 In B Major Prelude
Das Wohltemperirte Clavier: No 23 In B Major Fugue
Das Wohltemperirte Clavier: No 24 In B Minor Prelude
Das Wohltemperirte Clavier: No 24 In B Minor Fugue

Customer Reviews:

A delight to both mind and ear.......2005-09-15

ClassicsToday gave a useful summary of this set: "Pianist Angela Hewitt gives wise and lucid attention to these 24 revered Book II preludes and fugues. She never resorts to flashy escapades or overwrought, false romanticisms. She keeps to the basic and sacred demands of Bach's clearly defined script, and it is good. If you like your WTC on the piano, then these musically astute, technically flawless, and interpretively straightforward performances will serve well--easily equaling the well-mannered Schiff (Decca) and elegant Turek (VAI)."

When compared to Book I, Bach's WTC Book II is longer in length, more "serious" in tone overall and greater in compositional scope and complexity. Each disc of Book II is about 73 minutes long, compared to 68 minutes each in Book I. Not quite present in Book II are the more innocent and untroubled preludes from Book I that are most easily recognized. Instead, we are treated to music of grander proportions, sweeping intellect and several fugues possessing daunting tones and daring rhythms (at least for that period). In these minor-key fugues, Hewitt lays down the gauntlet with the full power and temperament from her Steinway that reminds us of Bach's reputed mastery and command of the keyboard. Yet all is not purely intellectual music here: there are several beautiful preludes of endearing tenderness that take sometimes their own sweet time to unfold with Angela Hewitt's trademark lyrical insight, tasteful dynamic shading and ethereal touch. For example in the tuneful Prelude No. 12, Hewitt fully embraces Bach's indications for playing "in a sensitive style" to give a sweet moment of repose. Hewitt's Book II possesses is real depth, intelligence and maturity that makes this set stand out.

Not only is Angela Hewitt the premier Bach pianist of her generation but she is also a premier educator - as seen in her abundent, highly detailed and thoroughly enjoyable liner notes that accompany her CD's. This notes here (really a small book) contains 47 total pages with 16 pages in English. In addition to Miss Hewitt's historical tidbits and pianistic insights, she gives the musical note-figurations for the main motives in each prelude and fugue. If you are interested in more than just casual listening to this music, then Angela Hewitt's CD and liner notes here are an excellent place to dive in deeper.

The sound quality seems better here than Book I with nothing to cite as notably deficient: it is clear with bell-like tones from the Steinway in a pristine, "no hiss" and pleasantly-but-slightly resonant recording environment. Accordingly, ClassicsToday rated this work 9/10 for Sound Quality along and 9/10 for Artistic Quality. Additionally, Penguin Guide awarded both of Hewitt's WTC sets a distinguished "Rosette" rating. In short, this set ranks at the top for its musical insight, clarity of voices, tasteful dynamic progressions, beautiful tone and the superlative liner notes that we only wish were a part of every CD we buy. Or as a Gramophone reviewer put it, "Hewitt's Book II is delight to both the mind and ear."

PREDICTABLY EXCELLENT.......2004-12-06

If forced to it at knifepoint I would probably have to admit that Angela Hewitt's account of the second volume of Bach's 48 doesn't make quite the impact on me that the first did. All the same characteristics are here as before. Everything is 'right', and absolutely nothing should give the slightest problem to anyone who is prepared to accept the piano as an appropriate instrument for Bach. The very first prelude begins with a pedal-point in the bass, and on a modern grand it seems natural and right to me to use a certain amount of sustaining pedal. Elsewhere the pedal is used with tact and restraint, exactly as I had expected; and the part-playing is a model of clarity without exception, exactly as I had expected again. The level of tone that Hewitt uses is natural and unaffected, not played-down in any self-conscious way but with very careful discrimination in building up the volume, as she does to great effect in the fugues in E minor and A minor. As in the first set, she provides her own commentary in the liner, and as before it is nearly as good as the performances themselves. If a performing artist of this stature can write with such unpretentious clarity and helpfulness it may not be too much to hope that certain others will take the hint and learn how the thing can be done.

Where I felt this set was not absolutely the equal of its predecessor was in a certain sense of freshness and alertness. There's not a lot in it, and I'm perfectly open to the possibility that the lack is in the listener rather than in the performer or the recorded quality. She hits completely top form in the fugues in G, G minor and A flat just to take some instances that impressed me particularly, and in a number of the preludes she hints that the player has to be watchful not to let them sound dull -- a danger that nobody listening to her would even suspect, I'm quite sure. To some extent it may be a matter of the steely machine-tooled clarity in the trills and other ornaments that Gould got us used to. Others of the younger generation of Bach pianists are at some pains to replicate this, Hewitt less so, and of course it's arguable how important, even how desirable, this is in the first place.

The preludes in the second set of the 48 are on average longer than those in the first. If they weren't too long for Bach they are certainly not too long for me, and I'm completely behind Hewitt's decision to repeat both halves of the prelude in B flat. One particularly interesting point that Hewitt makes in her commentary is that Bach kept tinkering with these pieces, usually to make them longer, and at several points she tells us where there are variant readings of the score, and why she opts for the ones she does. One has a distinct impression that if Bach had lived longer a number of these masterpieces, seemingly incapable of improvement as we have them, would have been quite significantly different.

The recorded quality is unexceptionable and the piano tone is superb throughout. As in the first volume, a listener new to the works will find here the best and least idiosyncratic introduction to them that I know of. Other great interpreters have a different vision of the 48, but whether there is a better one anywhere I greatly doubt.

Great Set.......2004-07-06

Just like the First Book of the Well-Tempered Clavier, this one is an excellent choice. You won't be disappointed!

Beautiful interpretation.......2001-04-04

I love this CD. Hewitt's interpretation is lyrical, almost romantic, bringing out a sweetness and intimate warmth that was completely surprising to me in this music. I have Gould's version of WTC II, which in comparison seems dry and almost mechanical. Some purists may complain that the Gould interpretation is the more correct one, but I found Hewitt's to be more engaging and moving. Highly recommended!

Natural, mellifluent.......2000-03-26

So far, almost every interpretaion of Bach's well-tempered clavier involves the radical faith about music and music performance, and every one tried their best excavating the great depth hidden in this reportoire. Hence we can easily recognize every pianist's deep thought,as Gould reflected his extraordinary and shining charecter, Richter both contemplated and composed, Landowska sang, Schiff focused on acoustic sweetness, Goula insisted on clean, unpedaled line. Here Herwitt gives us a new scope, a natural structural thinking of Bach. Every prelude and fuge is kept in a very natural tempo and articulation, without strange over-emphasized theme and contertheme. The progression of Hewitt's music is mellifluent, sometimes you will find these Bach's preludes and fuges sound so sweet, even seem to be a whole new work! If you do not expect to find or receive some serious meaning of life or faith in Bach's well-tempered klaviea, then is is a very good performance indeed.

Bach: The Well-Tempered Clavier, Books I & II

Average customer rating:

Great choice!
A nice reference copy
Very good indeed
Consummate performance
Arguably Best Ever 48 on record.

Bach: The Well-Tempered Clavier, Books I & II

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

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Bach: Complete Partitas
Beethoven: Complete Piano Sonatas
The Well-Tempered Clavier: Books I and II, Complete
Bach: Fantasia in C minor; Two-Part Inventions; Three-Part Inventions; Chromatic Fantasia & Fugue
Bach: Goldberg Variations

ASIN: B00001O2XM
Release Date: 1999-09-14

Tracks:

The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.1 in C
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.1 in C
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.2 in c
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.2 in c
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.3 in C#
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.3 in C#
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.4 in c#
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.4 in c#
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.5 in D
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.5 in D
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.6 in d
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.6 in d
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.7 in E flat
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.7 in E flat
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.8 in e flat
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.8 in d#
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.9 in E
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.9 in E
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.10 in e
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.10 in e
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.11 in F
The Well-Tempered Clavier, Book I, BWV 846-857: Fugue No.11 in F
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.12 in f
The Well-Tempered Clavier, Book I, BWV 846-857: Prld No.12 in f

Tracks:

The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.13 in F#
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.13 in F#
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.14 in f#
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.14 in f#
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.15 in G
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.15 in G
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.16 in g
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.16 in g
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.17 in A flat
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.17 in A flat
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.18 in g#
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.18 in g#
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.19 in A
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.19 in A
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.20 in a
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.20 in a
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.21 in B flat
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.21 in B flat
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.22 in b flat
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.22 in b flat
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.23 in B
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.23 in B
The Well-Tempered Clavier, Book I, BWV 858-869: Prld No.24 in b
The Well-Tempered Clavier, Book I, BWV 858-869: Fugue No.24 in b

Tracks:

The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.1 in C
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.1 in C
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.2 in c
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.2 in c
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.3 in C#
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.3 in C#
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.4 in c#
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.4 in c#
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.5 in D
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.5 in D
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.6 in d
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.6 in d
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.7 in E flat
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.7 in E flat
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.8 in d #
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.8 in d#
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.9 in E
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.9 in E
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.10 in e
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.10 in e
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.11 in F
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.11 in F
The Well-Tempered Clavier, Book II, BWV 870-881: Prld No.12 in f
The Well-Tempered Clavier, Book II, BWV 870-881: Fugue No.12 in f

Tracks:

The Well-Tempered Clavier, Book II, BWV882-893: Prld No.13 in F#
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.13 in F#
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.14 in f#
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.14 in f#
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.15 in G
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.15 in G
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.16 in g
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.16 in g
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.17 in A flat
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.17 in A flat
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.18 in g#
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.18 in g#
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.19 in A
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.19 in A
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.20 in a
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.20 in a
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.21 in B flat
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.21 in B flat
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.22 in b flat
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.22 in b flat
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.23 in B
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.23 in B
The Well-Tempered Clavier, Book II, BWV882-893: Prld No.24 in b
The Well-Tempered Clavier, Book II, BWV882-893: Fugue No.24 in b

Customer Reviews:

Great choice!.......2007-01-19

I picked this CD set, totally relying on the reviews underneath, and I came to absolutely agree with other reviewers when listening to it. This is wonderful set of the complete WTC, having great quality of performance.

A nice reference copy.......2006-11-10

Bernard Roberts is someone who I'd characterize as a master crafsman who can be relied on to give a good interpretation of the works without taking them over (e.g. like a Glenn Gould). The result is not just good listening but its makes for a recording that's an invaluable study aid for anyone who's trying to learn this material. Since the 48 are not just pieces of music but Bach's demonstration of styles and keyboard technique -- something that Dr. Roberts seems to understand very well -- you end up with a lot more than some CDs, a plastic case and a few sleeve notes......if you could only figure it all out, of course.

Very good indeed.......2006-06-07

Lary Goode writes it all. I followed his advice and got this box.
Long time I've been searching for a good performance of the 48. First I tried Hewitt, convinced that she would do. Something, I don't know what, made me disappointed with her performance. Since I love Schiff's performance of the Goldberg Variations on ECM, I then felt sure that he would do the trick on the 48. I was wrong. Mostly he plays too slowly. Then I tried Tureck, the BBC Legend-performances, not the DG. There is some convincing Bach-feeling about Tureck's playing.
But these incredibly cheap recordings with Bernard Roberts are much better. For the first time I feel the first book as one unit, one concept. Roberts' playing is easily flowing, not without some ornamentation, but mostly quite pure. I guess my search stops here!

Consummate performance.......2002-04-08

If you can get hold of this please do. It is simply an outstanding performance. It mixes contrapuntal clarity, balance and perfect phrasing with a musical integrity, and a mastery of the keyboard that comes from not only a great technique but more importantly mature judgement.

Arguably Best Ever 48 on record........2001-09-19

This is possibly the best ever performance of the WTC on record. Perhaps only Edwin Fisher or Ralph Kirkpatrick on harpsichord (LP, used only) is in the same league. Comparisons with them are not to his disadvantage either.
Owning over 50 performances of these pieces sometimes drives me crazy. Which one to listen to? However, this set immediately became my favorite. Direct communication of the holly spirit leaps off the keys with this set. In no other set is the voice and spirit of Bach more clearly related.
Comparisons with Hewitt show that Roberts possesses greater depth and coherence, with much more emotion. Compared to Schiff, which is wayward, heavy, lacks tension and momentum and stalls, and is unacceptable (D grade,) Roberts is direct, articulate, stylish and musical. For all you Gould fans, listen to this set to see how insensitive, lacking in depth, frustrating and ultimately, boring Gould is. Comparisons with Kirkpatrick on Clavichord in Book II are closer, though the still prefer Roberts for greater spirituality & inwardness. Compared to Landowska, who is romantic, heavy handed, wayward and perhaps lacking in depth & true understanding, Roberts is structurally clearer with greater sensitivity to Bachs's spirit. Gilbert, usually good, is just plain boring, dull, lifeless. Jarrett, technically perfect, is unmusical and sounds like a computer next to Roberts. No depth at all. Richter, typically, lacks depth and comprehension. Jando, romantic, lightweight, lacks any intensity at all. Tureck is great, almost matching Roberts in depth, but plays to slowly which can be problematic for some-Noisy recordings too. Roberts is tighter, playing with greater integrity, and still greater spirituallity.
Play this, then play any other after and you will see just how good Roberts is and just how great the work is.

Average customer rating:

Faultless performances!
A most sensitive and conacientious interpretation of Bach
Why?
Strong Bach playing from a strong pianist
Time for Another Go

Bach: The Well Tempered Clavier Book II

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bach: The Well-Tempered Clavier, Book 1
Bach: Two part Inventions/Three Part Inventions
Bach: The Six French Suites
Bach: The Well-Tempered Clavier (book 1)
Bach: Well-Tempered Clavier, Book 2

ASIN: B0000041RF
Release Date: 1990-10-25

Tracks:

The Well-Tempered Clavier, Book II: I. C Major
The Well-Tempered Clavier, Book II: II. C Minor
The Well-Tempered Clavier, Book II: III. C Sharp Major
The Well-Tempered Clavier, Book II: Preludes And Fugues I-XIII: IV. C Sharp Minor
The Well-Tempered Clavier, Book II: V. D Major
The Well-Tempered Clavier, Book II: VI. D Minor
The Well-Tempered Clavier, Book II: VII. E Flat Major
The Well-Tempered Clavier, Book II: VIII. D Sharp Minor
The Well-Tempered Clavier, Book II: IX. E Major
The Well-Tempered Clavier, Book II: X. E Minor
The Well-Tempered Clavier, Book II: XI. F Major
The Well-Tempered Clavier, Book II: XII. F Minor
The Well-Tempered Clavier, Book II: XIII. F Sharp Major

Tracks:

The Well-Tempered Clavier, Book II: XIV. F Sharp Minor
The Well-Tempered Clavier, Book II: XV. G Major
The Well-Tempered Clavier, Book II: XVI. G Minor
The Well-Tempered Clavier, Book II: XVII. A Flat Major
The Well-Tempered Clavier, Book II: XVIII. G Sharp Minor
The Well-Tempered Clavier, Book II: XIX. A Major
The Well-Tempered Clavier, Book II: XX. A Minor
The Well-Tempered Clavier, Book II: XXI. B Flat Major
The Well-Tempered Clavier, Book II: XXII. B Flat Minor
The Well-Tempered Clavier, Book II: XXIII. B Major
The Well-Tempered Clavier, Book II: XXIV. B Minor

Amazon.com

Schiff plays the 48 preludes and fugues on the piano, with the utmost sensitivity to voicing and the phrasing of counterpoint. He coaxes a lovely sound from his instrument (better captured in the 1985 recording of Book II than in the preceding year's takes of Book I), and the experience of following him as he explores each piece is exceptionally rewarding. --Ted Libbey

Customer Reviews:

Faultless performances!.......2006-09-15

Distinguished phrasing, magisterial control and sensitive treatment of the score are some of the most remarkable adjectives around these notable pieces of the second book of this important set.

According the great tradition of the great pianists, Schiff has written his name with golden letters in the musical memory. His approach reveals a sharp and zealous sense of the counterpoint, the smart changes of modulation, polished tune, expressive daintiness, careful phrasing and accurate balance.

The well tempered clavier demands from the player a countless amount of requisites that Schiff owns. His playing is at the meantime, evocative and reflexive, thunderous and lyric, grandeur and éclat, he never abuses of pedal and every little bar fits adequately into the context. Sometimes he makes remind us to Edwin Fisher in which sense of the span concerns, but his magisterial approach reveals an overwhelming accomplishment

Personally, I don' t know about any other sumptuous recording of this emblematic pages.

A most sensitive and conacientious interpretation of Bach.......2005-08-30

When listening to Andras Schiff playing the 48, apart from the great pleasure taken from his delicate touch, one can easily perceive how thoughtful he was when choosing his tempo, articulation, ornamentation and, of course, the use of the pedal. A must for those who appreciate the music of Bach played on the modern piano.

Why?.......2005-06-03

There's always the argument that if Bach had had a modern piano, he would have composed for it. Let's consider another possibility: if some style-insensitive time machine had delivered a piano to Bach's doorstep, he might have tried it out and rejected it as a bad idea, since it so obviously fails to serve the paramount musical ideals that inspired the High Baroque composers.
For listeners who understand what Bach meant by equal temperament, it's worth noting that the standard temperament of the modern piano bears no close connection to what Bach was trying to demonstrate in these "pedagogical" compositions. In other words, the point is lost.

Strong Bach playing from a strong pianist.......2005-03-05

Despite his wide-ranging repertory, Andras Schiff has established himself as something of a Bach specialist. Bach's second collection of twenty-four preludes and fugues in all major and minor keys was composed (and compiled) two decades after the first; although just as masterful in its composition it overall makes for a somewhat less satisfying total listening experience than the first set, primarily because of a certain sameness of tempo and mood that sets in around the F-sharp minor (which in itself is a lovely piece, often played separately), no. 14, and lasts until the A major, no. 19. It is precisely in some of these that one senses a certain overemphatic underlining, a straining for effect that suggests Schiff feels this way as well. The staccato treatment of the A-flat major Fugue, no. 17, a la Gould and the attempt to impose a forceful final climax on the succeeding fugue are cases in point. Nevertheless, as others have pointed out, these pieces were probably never meant by Bach to be performed or heard as a set. For every idea of Schiff's that doesn't quite work, there are many that do--his grasp of the knotty technical and structural problems of the B-flat minor Fugue, for example, is most impressive. The individual listener can easily listen to Schiff's interpretations that match his tastes and skip over those that don't. Though I myself secretly find the old Joerg Demus reading, incorrect ornaments and all, the most satisfying of all of the WTCs on piano, and of course pay homage to Gould's incomparable technical mastery, Schiff's WTC is one modern recording that I return to frequently.

Time for Another Go.......2004-11-14

I have just revisited Schiff's Well-tempered Clavier which has been my favourite and it is as fresh as always. Nonetheless it occurs to me that:

(i) Schiff has captured Bach's spirit very well-- he has Bach in his soul above all;

(ii) nonetheless it was recorded over twenty years ago when Schiff was comparatively young;

(iii) he keeps listening to and referring to Edwin Fischer's Well-tempered Clavier all the time;

(iv) he has been playing these Preludes/Fugues as morning shower all these years, so, he must have a deeper understanding of these pieces as by now he has become a more sophisticated Master Musician;

(v) the recording of these CDs however good they were, still leaves something more to be desired, especially Bk I. Note for example the difference between the left hand and the right hand-- due most likely to the accoustics of the place where the pieces were recorded-- so that the unity some of these pieces were in check. So it is perhaps time that Schiff should record them for a second time, for the benefit of all the piano students and the enjoyment of all audiences.

Until that happens, and for the more curious and ardent audience, other than Edwin Fischer and Glenn Gould, they could perhaps also try the more outspoken versions from Gulda and Richter. As for the students preparing these works, they could also refer to the lyrical and soulful rendition of Horszowsky and the equally impeccable version by Nikolayeva.

The Most Beautiful Melodies of Classical Music, Vol. 1-10 (Box Set)

Average customer rating:

The Most Beautiful Melodies of Classical Music, Vol. 1-10 (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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Oratorios | Opera & Vocal | Styles | Music

Airs | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Tracks:

The Four Seasons: Concerto No. 1 In E Major 'Spring,' I. Allegro
Overture No. 3 BWV 1068: Air
Water Music: Alla Hornpipe
Orpheus and Eurrdice: Dance Of The Blessed Spirits
Piano Sonata In A Major K. 331: Alla turca
Symphonie No. 3: Allegretto
String Serenade: Waltz
Foreign Countries And People op. 15 No. 1
Flute Concerto No. 1 In G Major, K. 313: Rondo. Tempo di Minuett
Piano Concerto No. 2 In F Minor Op. 21: Larghetto
Quintet In A Major 'Trout': Theme & Variations
Waltz In A Flat Major
Impromptu In G Flat Major D 899,3
Sinfonia concertante In E Flat Major K 364: Presto

Tracks:

Voices Of Spring Waltz Op. 410
Serenade Op. 3 No. 5
Songs Without Words In E Major Op. 19,1
Horn Concerto No. 3 In E Flat Major K. 447: Allegro
Fausts Verdammnis: Dances Of The Sylphes
Flute Concerto In G minor
Salomon: Arrival Of The Queen Of Sheba
Piano Concerto No. 23 In A Major K 488: Andante
Holberg Suite Op. 40: Prelude
Carmen: Intermezzo
String Serenade op. 22: Tempo di valse
Impromptu In B Flat Major D 935 No. 3
I Love You Op. 5 No. 3
Roses From The South, Waltz Op. 388

Tracks:

Peer Gynt: Morning
The Tales Of Hoffmann: Barcarole
Melody In F, Op. 3 Nr. 1
The Nutcracker: Waltz Of The Flowers
Standchen
Etude In G Sharp Minor 'La Campanella'
Peer Gynt: Anitras Dance
Moment Musical D 780 No. 3
Canon In D
Overture No. 2: Menuet & Badinerie
Piano Concerto No. 21 In C Major: Andante
Carmen: Seguedille
'Songs without Words': The Venetian Gondola
Eugen Onegin: Waltz
Romance For Violin And Orchestra In G major Op. 26

Tracks:

Die Fledermaus: Overture
Peer Gynt: Solveig's Song
Waltz No. 1 Op. 18 In E flat major 'Grande Valse brillante'
Lullaby
L'Arlesienne: Intermezzo
The Seasons Op. 37b: Barcarole
A Midsummer Night's Dream: Fairies' March
Clarinet Concerto In A Major K 622: Adagio
The Sleeping Beauty: Waltz
La Traviata: Prelude
Carmen, Suite No. 2: Chanson du Toreador
Happy Farmer
Menuet
On The Beautiful Blue Danube, Waltz Op. 314

Tracks:

A Little Night Music K 525: Allegro
Sonata No. 2 In E Major BWV 1031: Siciliano
Op. 11 No. 5: Menuet
Songs Without Words: Duetto
The Nutcracker: Dance of the Toy Flutes
Fruhlingslied (Spring Song)
Waldszenen: Abschied
Mandolin Concerto: Allegro
Music For The Royal Fireworks: La paix: Largo alla Siciliana
Brandenburg Concerto No. 3: Allegro
Waltz In B Minor Op. 69 No. 2
Romance Op. 5
Impromptu In A Flat Major D 935 Nr. 2
Tales from the Vienna Woods, Waltz Op. 325

Tracks:

Ave Maria
Humoresque Op. 101
Sleeping Beautiful: Panorama
Impromptu In E Flat Major, D899 No. 2
Melancholy
Waltz Op. 54,1
Nocturne In B Major Op. 9 No. 3
Caro mio ben
PARTITA IN D FLAT MAJOR: Pastorale
An den Fruhling
The Sleeping Beauty: Pas de quatre, Adagio
Rosamunde - Ballet In G Major
Piano Concerto No. 3 In C Minor Op. 37: Largo
Emperor Waltz, op. 437

Tracks:

Harp Concerto In B Flat Major: Andante allegro
Oboe Concerto In D Minor: Adagio
Flute Concerto In F Major, Op. 10 'La Tempesta di Mare': Presto
Piano Sonata No. 8 In C Minor Op. 13 'Pathetique': Adagio cantabile
Horn Concerto In E Flat Major K 495: Rondo. Allegro vivace
Poeme Op. 41 No. 6
Wilhelm Tell: Soldier's Dance
Liebestraum No. 3 In A flat Major
Violin Romance No. 2
Flute Concerto In E Minor: Rondo
Intermezzo In E Flat Major Op. 117,1
Carmen: Habenera
Symphony No. 3 'Scottish': Vivace non troppo
Vienna Bonbons: Waltz Op. 307

Tracks:

Symphony No. 40 In G Minor K. 550: Molto Allegro
Preghiera - Mozarianna Suite: Ave Verum
Arietta Op. 12,1
Concerto BWV 1056: Arioso
The Four Seasons: Concerto Nr. 3 Autumn: Allegro
Des Abends (Evening)
Holberg Suite Op. 40: Gavotte
Melancholy Galliard
Flute Concerto No. 2 In D Major K. 314: Rondo. Allegretto
Spinning Song
Orchestral Suite No. 3: Valse Melancolique
Flute Quartet K. 285a: Tempo di Minuetto
Moment Musical In A Flat Major, D 780 No. 2
Piano Concerto No. 9 In E Flat Major K 271 'Jeunehomme': Rondo - Presto

Tracks:

String Serenade: Moderato
Traumerei Op. 15
Ave Maria
Cello Concerto No. 2 In D Major: Allegro
Minuet In D Minor
Suite No. 1: Marche Miniature
A Midsummer Night's Dream: Notturno
Mazurka In D Major Op. 33 No. 2
Divertimento K 251: Andantino
On Wings Of A Song
Carmen: Nocturne
Melody
Sonata In C Major BWV 1033: Allegro
Symphony No. 1 In G Minor 'Winter Dreams': Adagio cantabile
Sound Of The Spheres, Waltz Op. 235

Tracks:

The Marriage Of Figaro: Overture
Sonata In C sharp Minor Op. 27,2 'Moonlight Sonata': Adagio sostenuto
German Dance No. 1
Nocturne In C Sharp Minor Op.posth.
Haffner Serenade: Minuet
Septet In E Flat Major Op. 20: Tempo di Minuetto
Symphony No. 4 Italian: Andante con moto
Prelude In D Flat Major Op. 28, No. 15 'Rain Drops'
'3 Small Pieces': Impromptu
'The Nutcracker': March
Romance In E Flat Major Op. 44
Piano Sonata No. 16 In C Major 'Sonata facile': Allegro
'The Nutcracker': Scene No. 10
Enjoy Your Life Waltz, Op. 340

Average customer rating:

wedding songs

Wedding Collection

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Wedding Music | Miscellaneous | Styles | Music

General | Miscellaneous | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

General | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B000000KGE
Release Date: 1997-06-03

Tracks:

Wedding Chor From 'Lohengrin' - Choir Of Belgrad Nat Opr
Matrimonial Benediction in F, Op.9 - Joseph Berger
'A Midsummer Night's Dream': Wedding March - LPO/Alfred Scholz
The Beautiful Blue Danube: Waltz Op.314 - Vienna Opr Orch/Carl Michalski
Wedding March: Mazurka Op.20a - London Festival Orch/Alberto Lizzio
Champagne Polka From 'The Bat' Op.211 - RPO London/Frank Shipway
Flower Waltz Op.71a/8 - London Festival Orch/Alberto Lizzio
Str Qt Op.13: Menuett in A - Stuttgart CO/Bernhard Guller
Radetzky March Op.228 - Vienna Opr Orch/Carl Michalski
Menuett in D - Stuttgart CO/Bernhard Guller
Emperor Waltz Op.437 - Vienna Opr Orch/Peter Falk
Ave Maria - Ernst Riedlinger

Tracks:

I Finally Found Someone
Power Of Love
Tonight I Celebrate My Love For You
Unchained Melody
Just The Way You Are
You Are So Beautiful
My Love
(Everything I Do) I Do It For You
You're In My Heart
Always
Love Is All Around
Enless Love

Customer Reviews:

wedding songs.......2005-10-12

I don't think this CD is for weddings....I personaly didn't care for it. It's to circus like music...

Bach: The Well-Tempered Clavier, Book ll, BWV 870-93

Average customer rating:

A "Regular People" Review
Landowska: The Optimum-Tempered Clavier

Bach: The Well-Tempered Clavier, Book ll, BWV 870-93

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

The Well-Tempered Clavier, Book I
Legendary Performers: Landowska
Bach: Goldberg Variations; Chromatic Fantasia & Fugue; Italian Concerto
Landowska plays Bach
The Glenn Gould Edition - Bach: The Well-Tempered Clavier, Book II

ASIN: B000003ERR
Release Date: 1989-11-03

Tracks:

The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 1 In C
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 1 In C
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 2 In C Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 2 In C Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 3 In C Sharp
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 3 In C Sharp
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 4 In C Sharp Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 4 In C Sharp Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 5 In D
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 5 In D
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 6 In D Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 6 In D Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 7 In E Flat
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 7 In E Flat
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 8 In D Sharp Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 8 In D Sharp Minor

Tracks:

The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 9 In E
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 9 In E
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 10 In E Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 10 In E Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 11 In F
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 11 In F
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 12 In F Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 12 In F Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 13 In F Sharp
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 13 In F Sharp
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 14 In F Sharp Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 14 In F Sharp Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 15 In G
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 15 In G
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 16 In G Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 16 In G Minor

Tracks:

The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 17 In A Flat
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 17 In A Flat
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 18 In G Sharp Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 18 In G Sharp Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 19 In A
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 19 In A
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 20 In A Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 20 In A Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 21 In B Flat
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 21 In B Flat
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 22 In B Flat Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 22 In B Flat Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 23 In B
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 23 In B
The Well-Tempered Clavier - Book 2, BWV 870-93: Prelude 24 In B Minor
The Well-Tempered Clavier - Book 2, BWV 870-93: Fugue 24 In B Minor

Customer Reviews:

A "Regular People" Review.......2007-02-27

First of all, I'm really disposed to the harpsichord, so its only natural that I like this. A lot of people who aren't sure what this is need to listen to some previews first, because I don't think this music is for everyone. HOWEVER if you do like it do yourself a favor and do a little searching for the RCA Red Seal Complete Landowska Recordings, Its a seven disc set (Including the The Well-Tempered Clavier, Book I and II and more) for less than this two disc set alone, hope this helps....and keep me updated!

Landowska: The Optimum-Tempered Clavier.......2000-08-09

Wanda Landowska is reputed to be the best interpreter of Bach in Clavier on records, and after you hear this recording you will understand why. The preludes and fuges included in the album require exceptional skills, and Landowska shows herself as an absolute authority. This historical recording of 1951-54 is one of the few played in the original instrument (clavier) instead of a transcription to piano. The quality of sound is very good, and the price is much below its real value.

Average customer rating:

Illuminating and Inspiring Too
Best WTC
a much more convincing approach

Bach: The Well-Tempered Clavier, Book 2

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Bach: The Well-Tempered Clavier, Book 1
Beethoven: Complete Works for Cello & Piano
Bach:The Well-Tempered Clavier
Beethoven: Piano Sonatas (Complete) [Box Set]
J.S. Bach: Das Wohltemperierte Klavier

ASIN: B0000041D0
Release Date: 1995-10-17

Tracks:

The Well-Tempered Clavier, Book II: Prelude No.1 in C-dur
The Well-Tempered Clavier, Book II: Fugue No.1 in C-dur
The Well-Tempered Clavier, Book II: Prelude No.2 in c-moll
The Well-Tempered Clavier, Book II: Fugue No.2 in c-moll
The Well-Tempered Clavier, Book II: Prelude No.3 in Cis-dur
The Well-Tempered Clavier, Book II: Fugue No.3 in Cis-dur
The Well-Tempered Clavier, Book II: Prelude No.4 in cis-moll
The Well-Tempered Clavier, Book II: Fugue No.4 in cis-moll
The Well-Tempered Clavier, Book II: Prelude No.5 in D-dur
The Well-Tempered Clavier, Book II: Fugue No.5 in D-dur
The Well-Tempered Clavier, Book II: Prelude No.6 in d-moll
The Well-Tempered Clavier, Book II: Fugue No.6 in d-moll
The Well-Tempered Clavier, Book II: Prelude No.7 in Es-dur
The Well-Tempered Clavier, Book II: Fugue No.7 in Es-dur
The Well-Tempered Clavier, Book II: Prelude No.8 in es-moll
The Well-Tempered Clavier, Book II: Fugue No.8 in dis-moll
The Well-Tempered Clavier, Book II: Prelude No.9 in E-dur
The Well-Tempered Clavier, Book II: Fugue No.9 in E-dur
The Well-Tempered Clavier, Book II: Prelude No.10 in e-moll
The Well-Tempered Clavier, Book II: Fugue No.10 in e-moll
The Well-Tempered Clavier, Book II: Prelude No.11 in F-dur
The Well-Tempered Clavier, Book II: Fugue No.11 in F-dur
The Well-Tempered Clavier, Book II: Prelude No.12 in f-moll
The Well-Tempered Clavier, Book II: Fugue No.12 in f-moll
The Well-Tempered Clavier, Book II: Prelude No.13 in Fis-dur
The Well-Tempered Clavier, Book II: Fugue No.13 in Fis-dur

Tracks:

The Well-Tempered Clavier, Book II: Prelude 14
The Well-Tempered Clavier, Book II: Fugue 14
The Well-Tempered Clavier, Book II: Prelude 15
The Well-Tempered Clavier, Book II: Fugue 15
The Well-Tempered Clavier, Book II: Prelude 16
The Well-Tempered Clavier, Book II: Fugue 16
The Well-Tempered Clavier, Book II: Prelude 17
The Well-Tempered Clavier, Book II: Fugue 17
The Well-Tempered Clavier, Book II: Prelude 18
The Well-Tempered Clavier, Book II: Fugue 18
The Well-Tempered Clavier, Book II: Prelude 19
The Well-Tempered Clavier, Book II: Fugue 19
The Well-Tempered Clavier, Book II: Prelude 20
The Well-Tempered Clavier, Book II: Fugue 20
The Well-Tempered Clavier, Book II: Prelude 21
The Well-Tempered Clavier, Book II: Fugue 21
The Well-Tempered Clavier, Book II: Prelude 22
The Well-Tempered Clavier, Book II: Fugue 22
The Well-Tempered Clavier, Book II: Prelude 23
The Well-Tempered Clavier, Book II: Fugue 23
The Well-Tempered Clavier, Book II: Prelude 24
The Well-Tempered Clavier, Book II: Fugue 24

Customer Reviews:

Illuminating and Inspiring Too .......2004-12-09

Gulda is so impressive in his interpretations. There are perhaps a piece or two where he perhaps went too far: the opening prelude in C is rather fast rather at the expense of lyricism. Likewise, the prelude in F is too fast to delight the general audience.

But Gulda's sense of momentum is so remarkable ( Martha, his former pupil, must have got it from him.) This momentum-- an important factor of the sense of urgency-- call be seen in Fugue in C, Fugue in C Sharp Minor, Fugue in G Minor, and Prelude in B, in fact almost all pieces.Moreover, despite some occasional harsh hotes, Gulda was very lyrical and poetic on the whole.

In conclusion, they are rather illuminating, and the price is good too. the recorded sound is also slightly better than Richter's set.

Best WTC.......2002-12-29

In my opinion the best recording of the WTC. Gulda gives very personal readings while remaining true to the score. Some people may find the preludes a bit rough and loud, but Gulda only plays that way when it suits the music. He also presents some of the best versions yet heard, like the preludes in C major, E major and F minor. The fugues, on the other hand, are unbeliavable: crystal clear and razor sharp. Gulda's choice of rather slow tempos comes to wonderful effect in fugues like the C minor, D sharp minor and F sharp minor (which, played by Gulda, is one of my favorite pieces of music all categories). I fully agree with the reviewer before - with the WTC you should get to know quite a few versions in order to find what's most to your liking. As for me, I've listened a lot to Gould's, Jandó's and Richter's recordings apart from this one. They all have great qualities, but If I was forced to choose only one which to listen to in the future (horrible thought) Gulda's is the one.

a much more convincing approach.......2001-11-28

Gulda, a musical rebel, is exploring these pieces and the result is different from all other performances. For example, Gulda uses very slow tempos, never recorded before.
Except for some peices, P&F can (and to my mind) should be played much slower on piano then what we are used to.
Also, Gulda manages true counterpoint and voice separation is perfect.
Some people would say Gulda is being ffff especially in fugue expositions but the way he does it makes sense to me.
If you need a single example of the greatness of Gulda listen to the P&F in c (Do minor) of WTC II.
If you can afford it - buy Gould , Gulda and Tureck and listen to each P&F and compare them.
Gulda has put so much musical knowledge, broadness of horizons and inner vision to these pieces that it may take more then one listening session to grasp how monumental his performance can be.
This is a desert island CD.

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