# Your favourite Bach pieces on piano?



## Luca

What are your favourite pieces that can be played on a piano from Bach? (organ and harpsichord included)
Personally I'm liking a lot the Well Tempered Clavier, book 2; to name a few I'm almost in love with BWV 872, 875 and 891. I love also the fuga of BWV 915, playing it fast is in fact challenging.


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## Renaissance

Art of fugue (all), Partita No.3 BWV 827 (Corrente), French Suite No.1, Toccata BWV 914, Goldberg Variations, to name a few. I prefer harpsichord to piano. Organ is good too.


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## TrazomGangflow

The Italian concerto and the Inventions sound alright on piano but I prefer them on harpsichord.


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## BurningDesire

The inventions and the Well-Tempered Clavier sound okay on piano, but I think they really shine on harpsichord. However, I think Couperin's music actually works much better on the piano (because he puts in so many damn ornamentations).


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## Jeremy Marchant

The partitas, the French suites, the _Goldberg _variations. The fun stuff, in other words.


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## Il_Penseroso

I think Harpsichord is much better for Bach's original compositions. I prefer Busoni's Transcriptions of Choral-Preludes on the Piano, Nun komm, der Heiden Heiland is my favorite.


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## mensch

I really enjoy the rendition of the Kunst der Fuge by Pierre-Laurent Aimard on the piano, but that masterpiece is a joy when performed solo or by an ensemble (Jordi Saval and Hesperion XX have made a nice recording).

Harpischord doesn't really work for me, so I tend to listen to performances on (modern) piano instead.


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## kv466

I love that g-minor toccata as well although the first work that came to mind was bwv914; played correctly, of course. And yes,...playing it fast can, indeed, be a feat. I, however, do prefer the fugue in the e-minor toccata.


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## Olias

I know some will disagree with me on this and that's okay, but I can't listen to any Bach on the modern piano. His music was written for harpsichord, clavichord, or organ, and to hear Bach's music played on an instrument that did not exist in Bach's time to me is like listening to Beethoven on an electronic synthesizer.


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## Head_case

Yay! 

Exactly my sentiments too. 

Bach's flute sonatas ...sound so much better on the authentic repro' (if that is not an irony in itself) baroque traverso than the modern silver Boehm flute.


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## Ramako

Olias said:


> I know some will disagree with me on this and that's okay, but I can't listen to any Bach on the modern piano. His music was written for harpsichord, clavichord, or organ, and to hear Bach's music played on an instrument that did not exist in Bach's time to me is like listening to Beethoven on an electronic synthesizer.


I have nothing against Beethoven on a synthesizer at least in principle. The number of times I have heard a performance on modern instruments which turn out to be my favourites is significant enough for me to be a skeptic on authenticity.


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## Luca

Olias said:


> I know some will disagree with me on this and that's okay, but I can't listen to any Bach on the modern piano. His music was written for harpsichord, clavichord, or organ, and to hear Bach's music played on an instrument that did not exist in Bach's time to me is like listening to Beethoven on an electronic synthesizer.


I don't care if the instrument being used is the one originally meant by the author or not. Any instrument can express peculiar feelings. I simply don't see a point in being that close minded. If it's music you like, why discard it? 
Also, notice that I haven't simply written the name of a whole book, but some pieces, which in my opinion achieve a greater power when played on a piano.


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## Head_case

> If it's music you like, why discard it?


The music itself ... is written for a particular instrument. Why question the choice of the composer, to chose a particular flute, over say, a tin can, or a synthesiser keyboard? 

Too many moderns amongst us presume 'equivalence'. Things are not inherently equal: the sonorities and textures from a period instrument, are unique to that period: this is the nature of aesthetics.

Substitution by the latest digital synthesiser, is a commercial contemporary proposition - not particularly an exploration of the very tonal and sonic qualities invested by the composer in his equivalent.

On the otherhand, if music is written specifically for digital tape and instrumentation, it would sound rather paltry played on period baroque instruments.

If you find that pieces by a composer, not written; not intended for piano, sound better on piano; perhaps this says more about your love for the piano as an instrument, rather than the music?

Most music, not intended for the flute, my favourite instrument, sounds atrocious to my ears, when transposed onto the flute. For instance - I've tried transcribing Dvorak's American string quartet on flute and I can't for the life of me agree that the expressivity of the original writings on strings translates at all onto the flute, other than an extreme simplification: a reduction, or a modern hash at turning a stellar compositional masterpiece into a 3 minute pop ditty.


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## mensch

Head_case said:


> If you find that pieces by a composer, not written; not intended for piano, sound better on piano; perhaps this says more about your love for the piano as an instrument, rather than the music?


A lot of Bach's music (and Baroque for that matter) is written for generic keyboard instruments. This means that at the time a piece could either be performed on a harpsichord (or equivalent) or even organ. Those two instruments have rather different musical qualities, I should think.
This fact always makes me a bit ambivalent towards performing older keyboard music in the piano. Also the composers weren't that purist themselves when it came to adopting newer instruments. This is especially evident when you look at composers who lived during the time when the transition from harpsichord to pianoforte was made gradually and the same goes for pianoforte to the modern grand piano. Beethoven and others were quick to make use of the expanded range of the pianoforte which was still actively developed. 
Yes, performing baroque music with an orchestra the size of the monstrosities Wagner and Berlioz scored their pieces for would be a bad idea, in my opinion. But as the older composers were rather vague regarding the choice of instrument for their works, mostly scoring them for keyboard (and accompaniment), I think performing those pieces on modern piano is not that much of a travesty.


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## Luca

Head_case said:


> The music itself ... is written for a particular instrument. Why question the choice of the composer, to chose a particular flute, over say, a tin can, or a synthesiser keyboard?


Why not? Why can't I do that, if I like the results? What if the composer didn't like a particular instrument, for example, but his music plays very well on it? Seems to me you are underestimating this possibility.
And we are talking about instruments that share common peculiarities.



Head_case said:


> If you find that pieces by a composer, not written; not intended for piano, sound better on piano; perhaps this says more about your love for the piano as an instrument, rather than the music?


That could be, of course. But why are you excluding the possibility that a piece meant to be played on an instrument can offer different possibilities, in terms of sheer power of communication, on a different one? Especially if we are talking about similar instruments.
Many Bach pieces intended for harpsichord keep getting played on the piano, as a side note.

If you can, name more pieces (single BWVs would be better), so the thread doesn't get that off topic.


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## powerbooks

Olias said:


> I know some will disagree with me on this and that's okay, but I can't listen to any Bach on the modern piano. His music was written for harpsichord, clavichord, or organ, and to hear Bach's music played on an instrument that did not exist in Bach's time to me is like listening to Beethoven on an electronic synthesizer.


Totally disagree, I must add: even Bach would disagree with this sentiment.

Bach's music was not necessarily written for harpsichord, clavichord, or organ specifically. That was why there were arrangements of his music, by himself, for other instruments or groups of them. I can certainly imagine that Bach would love to try his music on piano, even with original, non-arranged version.

For now, I think Goldberg Variation is no way worse on piano than on harpsichord. Try listen more, and you will get the feeling.


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## tdc

The Well-Tempered Clavier, books I and II. Followed by the Partitas BWV 825-830. Not quite as big a fan of the Goldberg Variations as many others here, I do enjoy them and as impressive as the work may be, I personally get more enjoyment out of listening to many of his other keyboard works.


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## ComposerOfAvantGarde

Just everything that GG played.


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## drpraetorus

Harpsichord forever. As Wanda Landowska said to Pablo Casals "You play Bach your way and I'll play him his way". However, it needs to be remembered that the Fortepiano was invented during Bachs lifetime (1721) and he probably heard of it if not heard it himself. 

Thomas Beecham 
“The sound of a harpsichord – two skeletons copulating on a tin roof in a thunderstorm. ”


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## neoshredder

The harpsichord is a great instrument. I'd say listen to both versions. Some suit the piano pretty well though.


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## Wandering

Olias said:


> I know some will disagree with me on this and that's okay, but I can't listen to any Bach on the modern piano. His music was written for harpsichord, clavichord, or organ, and to hear Bach's music played on an instrument that did not exist in Bach's time to me is like listening to Beethoven on an electronic synthesizer.


I think Bach did know of the newly invented instrument 'the piano-forte', but wasn't very impressed. The Goldberg Variations work quite well in piano versions like the Perahia and Hewitt ones I own. The Well-Tempered Clavier is excellent with Richter. I still love the original harpsichord also, especially Kenneth Gilbert's Well-Tempered Clavier.


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## Vaneyes

ComposerOfAvantGarde said:


> Just everything that GG played.


Amen.

View attachment 7944


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## Ondine

Vaneyes said:


> Amen.
> View attachment 7944


Wow! That is a true Treasure Coffer!

I agree that most of the piano performances of Glen Gould are wonderful.

Just to mention some: The concerto series from BWV 1052 through 1056 & 1058.


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## principe

Anything played in any other instrument except the harpsichord or organ, it is not _original_ Bach. It is a sort of transcription, even if it sounds "better" (a subjective attribute) on modern pianos. Whether Bach would had approved it, it would have been a speculation of no value at all. If Bach lived in another era, probably, he would have never composed anything of his output.
In any case, to answer the original question, there is no actual "favourite piece" for me. I rely compeletely on the liberties of the great pianist involved in each case, since in piano versions, what matters is the pianist, not...Bach! In addition, the recordings involved (how detailed, brilliant, etc).
So, for those who find attractive GG (I don't), anything _l'enfant terrible_ has played is a gem, even if it is a less intertesting work of Bach. 
I'm looking forward to the newly released Well-tempered Clavier with A. Schiff on ECM. Mostly out of curiosity, secondly because of the reputation of the wonderful productions of the excellent label and, to some extent, on account of the very good pianist.

Principe


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## drpraetorus

Has anyone ever tried to play Chopin or Liszt or even Beethoven on a harpischord? I played the Chopin A major polinasse. It just doens't work tonaly. Thr very rich and complex sound of the harpsichord was very jarring against the Chopin harmonies and full handed chords. Much as i like the harpsichord, I think the invention of the piano and the development of the cast iron frame and tripple stringing etc. opened the way for more complex harmonies and tighter harmonies starting in the Romantic period.


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## southwood

tdc said:


> The Well-Tempered Clavier, books I and II. Followed by the Partitas BWV 825-830. Not quite as big a fan of the Goldberg Variations as many others here, I do enjoy them and as impressive as the work may be, I personally get more enjoyment out of listening to many of his other keyboard works.


I too prefer WTC to Goldbergs. I have Jeno Jando doing them on piano. Very fine. Prefer that to Gould's Goldbergs.


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## Turangalîla

We must remember that Bach's favourite keyboard instrument in his day was the clavichord. Not only did he love the intimate sound, but he loved its ability to produce dynamics. I'm sure he would be pleased as punch with a clavichord-like instrument with full concert volume.

Yes, Beethoven had a fortepiano, but it was still _very_ different from the piano we have today. Yet nobody says "I refuse to play classical unless someone provides me with an authentic fortepiano." No, they are content to play it on our modern instrument. It should be the same with Bach. I love period instruments and still think that they should be used, but I also think that playing Baroque music on the modern piano is very rewarding.


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## Wandering

I got this Gould Well-Tempered complete. A sony 4 disc recent re-issue. Got it for 10 from an Amazon seller 'new', 12.50 with shipping total. Be here soon I hope...










_Very fond _of my Richter set, I need the reference though.


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## neoshredder

Stick with the harpsichord.


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## Wandering

neoshredder said:


> Stick with the harpsichord.


As I've said, big fan of the Kenneth Gilbert set, but I'm not a purist. At least you'd probably agree that the price was right. Not so usually with the Gilbert set, this steams my ****!

I know there's a recently released harpsicord WTK Complete set on the Capriccio label, if I'm not mistaken, _very affordable_; I'm very seriously considering it. Seems well reviewd on Arkiv also, not yet on Amazon.


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## neoshredder

I wouldn't call myself a purist. I just think the piano changes the sound too much. Basically makes it Romantic or Classical. It changes the specialness of that Baroque Era which I think the Harpsichord is probably the most important instrument. Lute coming right after. But if you aren't fond of Baroque instruments, Piano is an alternative I guess.


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## PetrB

Olias said:


> I know some will disagree with me on this and that's okay, but I can't listen to any Bach on the modern piano. His music was written for harpsichord, clavichord, or organ, and to hear Bach's music played on an instrument that did not exist in Bach's time to me is like listening to Beethoven on an electronic synthesizer.


Funny, that, since, if Bach designated "Klavier" on a keyboard work, Bach intended it then for whichever version of "Plinkety-Plonk" (to steal the phrase from a musicologist friend) was available.

Add to that the fact the Clavichord was Bach's _favorite_ "Klavier" because it has dynamic capability (one can contour a phrase, differentiate voicings... and that brings the whole 'issue' nearer the probablity that since the Old Thuringian was far more flexible about 'which / what plinkety-plonk' the works would be rendered upon, preferred a 'plinkety-plonk' capable of playing dynamics, he may well have well favored the modern day piano.


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## kitaro

The Art of Fugue. Even though we are not sure that it has been written for keynoard, it sounds very good on piano.


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## Sonata

I am relatively new to Bach's keyboard work. I've heard the French Suite #5, Italian Concerto, and the Goldberg Variations all on piano. I enjoyed all of them, my favorite being the French Suite #5.

I plan to purchase, at the very least, Gould's Golbergs, Richter's WTC, and a complete set of the French Suite. I also think that I will get the WTC or Goldbergs in solo harpsichord so that I can compare versions. I'm not sure how I will handle that much solo harpsichord music, but I am going to give it a try. My husband expressed interest in the sound of the harpsichords, so I'm kind of trying to pull him all the way in to becoming a classical music fan


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## Vaneyes

Sonata said:


> I am relatively new to Bach's keyboard work. I've heard the French Suite #5, Italian Concerto, and the Goldberg Variations all on piano. I enjoyed all of them, my favorite being the French Suite #5.
> 
> I plan to purchase, at the very least, Gould's Golbergs, Richter's WTC, and a complete set of the French Suite. I also think that I will get the WTC or Goldbergs in solo harpsichord so that I can compare versions. I'm not sure how I will handle that much solo harpsichord music, but I am going to give it a try. My husband expressed interest in the sound of the harpsichords, so I'm kind of trying to pull him all the way in to becoming a classical music fan


For your harpsichord curiosity, may I suggest Christophe Rousset. Good projection, rhythm, and recorded sound.

View attachment 9539
View attachment 9540


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## Sonata

Why thank you for the recommendation!


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## Mickey

Cuckoo and the nightingale.


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## Mickey

Also known as Concerto for 4 harpsichords in A minor BWV 1065.:tiphat:


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## Ravndal

ComposerOfAvantGarde said:


> Just everything that GG played.


Very true.



> I know some will disagree with me on this and that's okay, but I can't listen to any Bach on the modern piano. His music was written for harpsichord, clavichord, or organ, and to hear Bach's music played on an instrument that did not exist in Bach's time to me is like listening to Beethoven on an electronic synthesizer.


Stupidest thing ive ever read. Synthesizer isn't even an acoustic instrument.


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## adrver

I like the BWV 860. It's so energetic!


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## Wandering

Mickey said:


> Cuckoo and the nightingale.


_'Like a nightingale with a toothache'

'As light as an egg'_

Eric Satie


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## KenOC

Just for the spice: Glenn Gould recorded two studio sets of the Goldberg Variations, one in 1955 and the other in 1981. They are a _bit _different! Which do you prefer?


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## Andreas

I don't think Bach write _for_ the harpsichord or the clavichord, that is, I don't think he wrote music that was designed to sound particularly good on those instruments. (Now with the organ is different, given the organ's ability to sustain notes with even dynamics.)

The only thing that seems relevant to me in this regard is that the clavichord and the harpsichord, as far as I know, produced even dynamics. You couldn't play one voice lounder or more quiet than the others. This makes these instruments ideal for Bach's polyphony.

So that's my only issue with Bach on the piano: players highlighting certain voices and putting the others more in the background. This may make things like fugues easier to listen to because one does not get as overwhelmed by the polyphony. But that polyphony is exactly what's so special about Bach.

It's also what makes Gould'd Bach recordings so great: he balances all voices wonderfully, with full clarity and transparency. Even Bach admirers like Schiff or Parahia tend to push the lower voices into the background a little to much for my taste.


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## ahammel

You can do dynamics with a clavichord if I'm not much mistaken. It has, at least, a greater dynamic range than a harpsichord.


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## kitaro

What is interesting about Bach is that his music sounds good on any instrument. There are hundreds of arrangements for his compositions in different styles and different instruments. Some of them are really amazing.


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## Vaneyes

KenOC said:


> Just for the spice: Glenn Gould recorded two studio sets of the Goldberg Variations, one in 1955 and the other in 1981. They are a _bit _different! Which do you prefer?


I go back 'n forth with the short and elongated, though my preference is the '59 Salzburg.

For analog buffs not aware of it, the '81 was reissued c2002 as AAD. Related info. here...

http://www.stevehoffman.tv/forums/archive/index.php/t-7628.html


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## Sonata

I'm going to pick up "A State of Wonder: The Complete Goldberg Variations". It has both Glenn Gould sets


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## Wandering

^ *Universal, very true...*

Seems when I turn on the television, Prelude no. 1 from vol. 1 is playing, advertising a bank, insurance, internet co. etc. etc.; It like _they_ think _we_ are thinking, 'wow, they must be dependable, conservative, caring etc etc.'

Funny you never hear no. 10 fugue, it might be more honest. - 'Boy are they dubious, devious, and cocky!'


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## KenOC

Sonata said:


> I'm going to pick up "A State of Wonder: The Complete Goldberg Variations". It has both Glenn Gould sets


If you like the 1955 set, you'll notice the recording is mono and not very good, and GG insists on adding a vocal line (not nearly as accurate as his playing, sadly). I prefer to listen to the Zenph recreation of that performance, which is really quite excellent!

http://www.amazon.com/Bach-Goldberg...TF8&qid=1352233165&sr=1-1&keywords=bach+zenph


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## Vaneyes

KenOC said:


> If you like the 1955 set, you'll notice the recording is mono and not very good, and GG insists on adding a vocal line (not nearly as accurate as his playing, sadly). I prefer to listen to the Zenph recreation of that performance, which is really quite excellent!
> 
> http://www.amazon.com/Bach-Goldberg...TF8&qid=1352233165&sr=1-1&keywords=bach+zenph


Interesting experiment, but hardly a replacement for genuine GG.

Stereophile & Silverman also tried something different for LvB Piano Sonatas.

Mixed reviews for both experiments, but there were enough who liked them.

For those interested, reviews/articles are available online for both. Here, I've linked one for each. :tiphat:

http://www.nytimes.com/2007/03/12/arts/music/12conn.html?pagewanted=all&_r=0

http://www.stereophile.com/musicrecordings/298/


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## Wandering

^ Goldberg on the Harp sound interesting to me, haven't heard it though.


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## Wandering

Alright... I haven't memorized the Goldeberg variation, only parts of it. To really know what I'm talking about, atleast in my view, I needs a far better knowledge from memorization of the work as a whole, and the use of technical terms. I thought I'd add my two-pence as to what I do know well, 'The Aria':

The Aria, very well known piece in itself, the latter part, the second half, the musical feel seems built not into a typical climax, but building into a insurmountable dispair, I haven't personally heard a baroque work with this type of both eloquence and power, nor even with the classical and romantic periods for that matter. After this culimnating dispair, it seems as though 'the hero' is 'still kicking', and goes on despite having not thought this possible, very depictive of grief or other types of crushing blows, these moments repeat and then 'The Aria' closes. I didn't feel like pulling out all the technical jargon with references from a musical term book; anywho, it is quite obvious in the music itself to get my drift.

Addition: It's almost as if it is an initial recollection of a loved one, the horrible, and then the 'life somehow goes on'; maybe.

P.S. This could also be a reference to a recent 'sad' thread in the community forum, but who in there righte mind would want to dwell on that, or atleast 'all that often'?


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## Wandering

That Gould 4disc WTK complete, I'd mention earlier is even cheaper now in 'new' on Amazon, $10 u.s.a. total _ship and all_, that's a steal!


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## imgmail

My favorite piece is the Concerto for Harpsichord and Strings in D Minor.


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## JohannSBach

My favourite is the by Wilhelm Kempff transcribed Nun Komm' Der Heiden Heiland, BWV 659. Lovely on the organ, but I think you can put much more into it by playing it on the piano!


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## Novelette

Right now, it's "Ich steh an deiner Krippen hier", BWV 469.






I have very fond memories of hearing this being sung in a German Lutheran church near Christmas.


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## GeorgeT

The 1981 _Gould_bergs


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## msvadi

Ich Ruf Zu Dir, Herr Jesu Christ, BWV 639 (Busoni Transcription)


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## KenOC

Vaneyes said:


> For those interested, reviews/articles are available online for both. Here, I've linked one for each. :tiphat:
> 
> http://www.nytimes.com/2007/03/12/arts/music/12conn.html?pagewanted=all&_r=0
> 
> http://www.stereophile.com/musicrecordings/298/


Re Gould: Mr. Rothstein didn't think the Zenph re-performance captured the real "Gould," though he really doesn't explain why. But his prejudice is showing in the last paragraph:

"The disappointment is also a relief. For had Zenph succeeded, there would have been a severe price. Had that really been Gould's sound coming from the piano, it would have dealt a severe blow indeed to an ancient prejudice: that music, in all its complexity, is beyond the reach of the merely technical, and that it belongs, in creation and interpretation, to humanity's ever-shrinking domain."

I'm not sure how a performance on a sub-par 1955 mono CD, which he prefers, is "beyond the reach of the merely technical," or is any more within "humanity's ever-shrinking domain" than the Zenph effort. Merely the fatuous ramblings of a confused Luddite.


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## TylerTheLuthier

Partita 2 is my favorite


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## Guest

Clovis said:


> ^ Goldberg on the Harp sound interesting to me, haven't heard it though.


I have it. It is okay, nothing special. I do like Fretwork's recent recording of the Goldbergs with a viol ensemble on the Harmonia Munro label.


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## Novelette

I love the Richard Egarr performance of the Variations. An interesting approach to the colossal work that is free of the Gould interpretive paradigm. I like Gould's performances, but the alternative interpretations are interesting when juxtaposed to the "Gouldbergs".


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## starthrower

I don't know which pieces are my favorites, so maybe you can help me out? I'm looking for some of Bach's more meditative and lyrical keyboard compositions. I want to avoid all that stuff that sounds like finger exercises. I know that's a condescending remark considering the greatness of Bach, but I just don't want to listen those types of dizzying baroque pieces. I want the slow stuff. Any suggestions will be appreciated. Thanks!


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## Balthazar

starthrower said:


> I don't know which pieces are my favorites, so maybe you can help me out? I'm looking for some of Bach's more meditative and lyrical keyboard compositions. I want to avoid all that stuff that sounds like finger exercises. I know that's a condescending remark considering the greatness of Bach, but I just don't want to listen those types of dizzying baroque pieces. I want the slow stuff. Any suggestions will be appreciated. Thanks!


Try the Toccatas (BWV 910-916). They convey a wonderful meditative quality (though they do get lively in spots).

Also the Sarabande movements from the English Suites, the French Suites, and the Keyboard Partitas.


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## Bettina

starthrower said:


> I don't know which pieces are my favorites, so maybe you can help me out? I'm looking for some of Bach's more meditative and lyrical keyboard compositions. I want to avoid all that stuff that sounds like finger exercises. I know that's a condescending remark considering the greatness of Bach, but I just don't want to listen those types of dizzying baroque pieces. I want the slow stuff. Any suggestions will be appreciated. Thanks!


Many of the fugues (and some of the preludes) in the Well-Tempered Clavier are slow and pensive. Of course, the exact tempo depends on the performer, since Bach didn't give tempo indications. But here's a list of WTC pieces that are usually played in a slow, meditative fashion:

Prelude and Fugue in C-sharp Minor, Book 1 of the Well-Tempered Clavier

Prelude and Fugue in D-sharp Minor, Book 1

Prelude and Fugue in F Minor, Book 1

Fugue in G-sharp Minor, Book 1

Fugue in B-flat Minor, Book 1

Fugue in B Minor, Book 1

Now, some recommendations from Book 2 of the Well-Tempered Clavier:

Prelude in C-sharp Minor, Book 2

Fugue in E-flat Major, Book 2

Fugue in E Major, Book 2

Prelude in A Minor, Book 2

As for recordings of the WTC, I recommend Rosalyn Tureck, Vladimir Ashkenazy, and Glenn Gould.


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## jegreenwood

Balthazar said:


> Try the Toccatas (BWV 910-916). They convey a wonderful meditative quality (though they do get lively in spots).
> 
> Also the Sarabande movements from the English Suites, the French Suites, and the Keyboard Partitas.


Perahia's recent recording of the French Suites struck me (for the most part) as particularly introspective.


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## starthrower

Balthazar said:


> Try the Toccatas (BWV 910-916). They convey a wonderful meditative quality (though they do get lively in spots).


Presto has this 3 disc set for only 7 dollars. I'm gonna grab it. Thanks!









http://www.prestoclassical.co.uk/r/Sony/88725411882#listen


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## starthrower

Balthazar said:


> Also the Sarabande movements from the English Suites, the French Suites, and the Keyboard Partitas.


This one sounds great too. 4 CD set for 10 bucks!
http://www.prestoclassical.co.uk/r/Sony/88725411892#listen


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## Pugg

jegreenwood said:


> Perahia's recent recording of the French Suites struck me (for the most part) as particularly introspective.


I do think this is a perfect recording, very refreshing.


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## Balthazar

^^ Great buys on the Gould recordings! Let us know how you find them.


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## hpowders

Too lazy to look back and see if I posted here. 

Anyhow, I prefer NO Bach keyboard piece on piano.

The Goldberg Variations, Partitas and WTC: the harpsichord can do things with Bach's music that the piano cannot do and therefore I listen to Bach exclusively on harpsichord, the way Bach intended. I would listen on clavichord, if I could hear it.

If you love Bach on piano, go in peace! It's better than not listening to Bach's magnificent solo keyboard music.


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## helenora

All! can't choose , so good all of them, well, especially WTC and Goldberg variations


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## Barbebleu

Yeah, I can listen to all of Bach's keyboard music being performed on the piano all day long. I'm a Gould fan but there are hordes of other great interpreters out there that I enjoy as well. My favourite pieces other than the Goldberg and WTC are the Partitas and English Suites. But I'm really nitpicking here.


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## Animal the Drummer

hpowders said:


> Too lazy to look back and see if I posted here.
> 
> Anyhow, I prefer NO Bach keyboard piece on piano.
> 
> The Goldberg Variations, Partitas and WTC: *the harpsichord can do things with Bach's music that the piano cannot do* and therefore I listen to Bach exclusively on harpsichord, the way Bach intended. I would listen on clavichord, if I could hear it.
> 
> If you love Bach on piano, go in peace! It's better than not listening to Bach's magnificent solo keyboard music.


The converse is also true. Additionally I'd be more sanguine than you in defining Bach's intentions as to instrument, which aren't always clear even in terms of the instruments of his time, besides which he was enough of an enthusiast for early pianos to act as a demonstrator for them on occasion.


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## hpowders

Animal the Drummer said:


> The converse is also true. Additionally I'd be more sanguine than you in defining Bach's intentions as to instrument, which aren't always clear even in terms of the instruments of his time, besides which he was enough of an enthusiast for early pianos to act as a demonstrator for them on occasion.


Listen to the great Sarabande of Partita No. 1. Assuming the first repeat is taken, about 3 minutes in, there is one of the greatest plaintive trills in all of music. Listen to it played on harpsichord vs. piano. The piano cannot reproduce the heartbreaking effect that the harpsichord does.

However, it is foolish for me to debate anyone who's mind set is "piano".

As I wrote, better to listen to Bach on piano than not at all.


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## Pugg

starthrower said:


> This one sounds great too. 4 CD set for 10 bucks!
> http://www.prestoclassical.co.uk/r/Sony/88725411892#listen


I would not hesitate one minute buying this.


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## Animal the Drummer

I've played that piece on both instruments and I'm afraid I can only conclude that, as beauty is in the eye, so plaintiveness is in the ear of the beholder. But _Vive la différence_.


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## Reichstag aus LICHT

jegreenwood said:


> Perahia's recent recording of the French Suites struck me (for the most part) as particularly introspective.


I have that one, and I agree. An outstanding reading of those wonderful works.


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## DavidA

I have Perahia in the English Suites, the Concertos and the Goldbergs. His new recording of the French Suites (made for his new label DG) strikes as good from what I've heard. It is some of the finest Bach playing, although for something altogether less streamlined and more quirky go to Gould.


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## zinc701

Well Tempered Clavier I and II. But the truth is I like most of the keyboard work.


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## jegreenwood

Awaiting delivery of this:









I don't play piano, but I can read music, and sometimes I enjoy following along - to try to unravel fugues or whatnot. And this book is dirt cheap.


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