Track Listings Disc: 1 1. The Well-Tempered Clavier, Book 1: 1. Pld & Fuga in C (a 4 voci), BWV 836 2. The Well-Tempered Clavier, Book 1: 2. Pld & Fuga in c (a 3 voci), BWV 847 3. The Well-Tempered Clavier, Book 1: 3. Pld & Fuga in C# (a 3 voci), BWV 848 4. The Well-Tempered Clavier, Book 1: 4. Pld & Fuga in c# (a 5 voci), BWV 849 5. The Well-Tempered Clavier, Book 1: 5. Pld & Fuga in D (a 4 voci), BWV 850 6. The Well-Tempered Clavier, Book 1: 6. Pld & Fuga in d (a 3 voci), BWV 851 7. The Well-Tempered Clavier, Book 1: 7. Pld & Fuga in E flat (a 3 voci), BWV 852 8. The Well-Tempered Clavier, Book 1: 8. Pld in e flat & Fuga (a 3 voci) in d#, BWV 853 9. The Well-Tempered Clavier, Book 1: 9. Pld & Fuga in E (a 3 voci), BWV 854 10. The Well-Tempered Clavier, Book 1: 10. Pld & Fuga in e (a 2 voci), BWV 855 11. The Well-Tempered Clavier, Book 1: 11. Pld & Fuga in F (a 3 voci), BWV 856 12. The Well-Tempered Clavier, Book 1: 12. Pld & Fuga in f (a 4 voci), BWV 857
Disc: 2 1. The Well-Tempered Clavier, Book 1: 13. Pld & Fuga in F# (a 3 voci), BWV 858 2. The Well-Tempered Clavier, Book 1: 14. Pld & Fuga in f# (a 4 voci), BWV 859 3. The Well-Tempered Clavier, Book 1: 15. Pld & Fuga in G (a 3 voci), BWV 860 4. The Well-Tempered Clavier, Book 1: 16. Pld & Fuga in g (a 4 voci), BWV 861 5. The Well-Tempered Clavier, Book 1: 17. Pld & Fuga in A flat (a 4 voci), BWV 862 6. The Well-Tempered Clavier, Book 1: 18. Pld & Fuga in g# (a 4 voci), BWV 863 7. The Well-Tempered Clavier, Book 1: 19. Pld & Fuga in A (a 3 voci), BWV 864 8. The Well-Tempered Clavier, Book 1: 20. Pld & Fuga in a (a 4 voci), BWV 865 9. The Well-Tempered Clavier, Book 1: 21. Pld & Fuga in B flat (a 3 voci), BWV 866 10. The Well-Tempered Clavier, Book 1: 22. Pld & Fuga in b flat (a 5 voci), BWV 867 11. The Well-Tempered Clavier, Book 1: 23. Pld & Fuga in B (a 4 voci), BWV 868 12. The Well-Tempered Clavier, Book 1: 24. Pld & Fuga in b (a 4 voci), BWV 869
Disc: 3 1. The Well-Tempered Clavier, Book 2: 1. Pld & Fuga in C (a 3 voci), BWV 870 2. The Well-Tempered Clavier, Book 2: 2. Pld & Fuga in c (a 4 voci), BWV 871 3. The Well-Tempered Clavier, Book 2: 3. Pld & Fuga in C# (a 3 voci), BWV 872 4. The Well-Tempered Clavier, Book 2: 4. Pld & Fuga in c# (a 3 voci), BWV 873 5. The Well-Tempered Clavier, Book 2: 5. Pld & Fuga in D (a 4 voci), BWV 874 6. The Well-Tempered Clavier, Book 2: 6. Pld & Fuga in d (a 3 voci), BWV 875 7. The Well-Tempered Clavier, Book 2: 7. Pld & Fuga in E flat (a 4 voci), BWV 876 8. The Well-Tempered Clavier, Book 2: 8. Pld & Fuga in d# (a 4 voci), BWV 877 9. The Well-Tempered Clavier, Book 2: 9. Pld & Fuga in E (a 4 voci), BWV 878 10. The Well-Tempered Clavier, Book 2: 10. Pld & Fuga in e (a 3 voci), BWV 879 11. The Well-Tempered Clavier, Book 2: 11. Pld & Fuga in F (a 3 voci), BWV 880 12. The Well-Tempered Clavier, Book 2: 12. Pld & Fuga in f (a 3 voci), BWV 881
Disc: 4 1. The Well-Tempered Clavier, Book 2: 13. Pld & Fuga in F# (a 3 voci), BWV 882 2. The Well-Tempered Clavier, Book 2: 14. Pld & Fuga in f# (a 3 voci), BWV 883 3. The Well-Tempered Clavier, Book 2: 15. Pld & Fuga in G (a 3 voci), BWV 884 4. The Well-Tempered Clavier, Book 2: 16. Pld & Fuga in g (a 4 voci), BWV 885 5. The Well-Tempered Clavier, Book 2: 17. Pld & Fuga in A flat (a 4 voci), BWV 886 6. The Well-Tempered Clavier, Book 2: 18. Pld & Fuga in g# (a 3 voci), BWV 887 7. The Well-Tempered Clavier, Book 2: 19. Pld & Fuga in A (a 3 voci), BWV 888 8. The Well-Tempered Clavier, Book 2: 20. Pld & Fuga in a (a 3 voci), BWV 889 9. The Well-Tempered Clavier, Book 2: 21. Pld & Fuga in B flat (a 3 voci), BWV 890 10. The Well-Tempered Clavier, Book 2: 22. Pld & Fuga in b flat (a 4 voci), BWV 891 11. The Well-Tempered Clavier, Book 2: 23. Pld & Fuga in B (a 4 voci), BWV 892 12. The Well-Tempered Clavier, Book 2: 24. Pld & Fuga in b (a 3 voci), BWV 893
The preludes and fugues which comprise the 48 date from two periods in Bach's life. The first anthology of 24 was completed in 1722, shortly before Bach left Cöthen for Leipzig; the second followed 20 years later, in 1742, by which time he had completed 24 more preludes and fugues, this time without the title Well-tempered Clavier which he had given to the first. The upward semitone journey in which Bach set about exploring as many different keys as was then practicable is the same in both books. The idea was not without precedent, among earlier examples being J.C.F. Fischer's Ariadne musica, in which the composer seems to have had a similarly didactic purpose to that of Bach, though on a smaller scale. This is the first complete 48 to have come my way for some while and I can say, at once, that it is a very satisfying one. Both the rival complete versions currently in the UK catalogue (Leonhardt on Deutsche Harmonia Mundi/Conifer and Walcha on Archiv Produktion) are elderly and suffer, at least in comparison with this new one from a lack of warmth in the instruments themselves. Archiv Produktion have achieved splendid results here with their recorded sound; there is an ideal resonance which captures the radiant character of the instrument extremely well. Kenneth Gilbert's blend of scholarship and fine technique, together with a thoughtful, modest personality, give his performances a notably concentrated quality free from gimmickry and excessive imposition of personal whim. It is a quality which, perhaps, does not always serve him quite so well on the concert platform where an extra dimension is sought and where there is less opportunity of becoming properly acquainted with an artist's deepest feeling. Such is not the case with recordings and Gilbert succeeds triumphantly with his 48; one might almost say, in fact, that he is never happier than when the studio red light is on! In the first book there are virtually no markings and so the performer carries heavy responsibility for phrasing and articulation. Gilbert reaches some convincing conclusions; take the third fugue (C sharp major) for example where he achieves a marvellous carefree atmosphere by the degree of staccato which he applies to the quavers. At the same time his fine rhythmic sense never allows him to lose the innate elegance of the piece. That quality in his playing also serves him well in the preceding C sharp Prelude and in the D minor Prelude of Book I. There, rhythmic vitality and clear articulation make for outstanding performances; the flattened Es of bar 17 of the D minor have a haunting poignancy in Gilbert's handling of the piece. Leonhardt, incidentally, uses a 'lute' stop for both these preludes. In general, he makes more use than Gilbert of this kind of differentiation of colour and strand; but, despite its virtues both from entertainment and instructional points of view, I prefer the consistency of Gilbert's tonal palette which yields nothing to the other in textural clarity. Leonhardt's 48, by the way, is recorded on an instrument pitched at A=440 whereas Gilbert's is at something approaching A =415.
