Ioannis
2005-11-04 19:34:08 UTC
As promised in another thread, I recorded some pieces from my WTC clavier
with harpsichordist Isolde Ahlgrimm.
To repeat a little from what I said in that other thread, Isolde was an
Austrian harpsichordist, I think born 1918 and died 1992. She came after
Landowska, who is admittedly more famous than her, but in my opinion Isolde
plays much better than Landowska, although both are simply terrific.
Isolde tought at conservatories in Austria and for full biographical
details, do a Google search on her full name. She has recorded all of Bach's
keyboard works on a special pedal harpsichord of her own, on PHILIPS LPs
around 1955. She had done extensive historical research on Bach. All
recordings are played from memory.
Isolde's performances have been termed "historic", both in terms of value
and in terms of style and she, herself, had been labeled "widow Bach".
Whenever she gave public performances in Germany and Austria, the crowed
apotheosed her.
When my dad was a Bachian, before his death in 1986, around the time of my
birth, in 1964, he bought her albums of WTC1, WTC2, French/English Suites,
Partitas and Small Preludes and Fugues. I grew up with her Bach recordings,
since I was a young boy. I did not understand Bach back then, but I have
very fond impressions of all these recordings. I am not aware if PHILIPS
re-issued the keyboard works on CD, so if you can find those LPs anywhere,
buy them. They are worth their money. Isolde has issued other Bach works on
CD, which can be found online, searching for her name.
I recorded some pieces yesterday, for the pleasure of the Bach audiences
here. The recordings are low quality, 22kHz, 8 bit, mono, converted to 44khz
16 bit mono and encoded as mp3. Apologies for the occasional inline noise,
but my house is not soundproof. Comments interspersed:
(The links are all redirection links. For the direct link, substitute .mp3
for .html)
Prelude #5 from WTC book 1:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC1P5.html (1.3MB)
Note the perfect timing. Isolde plays like clockwork. Note how interesting
the ending of the prelude is, with pedal. This is one prelude where most of
the work is done by the right hand, but I have yet to hear any
pianist/harpsichordist keeping such a perfect timing of the right hand.
Ending of Prelude is fireworks, with pedal!
Fugue #5 from WTC book 1:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC1F5.html (1.8MB)
Timing is absolutely perfect, although there is some dispute on whether Bach
intended those to be dotted sixteenths vs dotted thirysecondths. Isolde goes
for thirtysecondths, but the effect is fantastic. Pedal at the end with the
finishing chords, creates such a wonderful "bang" ending effect on this
fugue.
Prelude and Fugue #2 from WTC book 2:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC2P_F2.html (3.7MB)
Note sublime and quiet Prelude. Note fascinating and perfectly executed
legato on it. Fugue, mysterious, pastoral, quiet in the beginning, (as it
should be), an introduction to a musical prayer, until the first Stretto,
where she puts registers in. Note clear strettos. Note how absolutely
beautiful the pedal sounds on the bass on the augmented theme and how
pastoral transforms to grand and grave towards the end. Notice call of
inverted theme in the end with pedal. Have you heard any keyboardists who
bring the inverted theme out in the end instead of the regular theme?
(Compare with the staccato nonsense that Gould does on this prelude and
fugue for example).
Prelude and Fugue #16 from WTC book 2:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC2P_F16.html (5.3MB)
THIS is how Bach would want this prelude to sound. Majestic, grand, not
chicken-shit romance and quiet. Tutti! Double registers and pedal for added
effect. Wonderful! This is anger and passion, a profound statement, not some
whiney mellow musac melody. Fugue: This is one of the great fugues, and
Isolde does it justice with double stops. Note how Isolde gradually
transforms it from a slow start to a serious statement. Note additional
melodies coming out. Note bass playing the theme at the end.
Fugue #22 from WTC book 2:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC2F22.html (4.3MB)
This is one of the most difficult fugues in all of WTC1/2. This is a hellish
nightmare, contrasted with its prelude which is melodic and romantic. Bach
wants passion, power, gravity, to the point of insanity, and Isolde does it
justice. Notice additional melodies creeping in. The harpsichord is ready to
explode! Can you detect the almost insane crux on bars 36-37?! THIS is how
this fugue SHOULD be played. It's fireworks! One of the most complex fugues!
Prelude and Presto (excerpt) from English Suite #6:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmES6Pre.html (3.8MB)
Grave! Majestic! Grand! Pedal and double stops! Timing, perfect! Clockwork.
This is what I call a hell of an introduction. You almost don't need to hear
the rest of it, when you hear the prelude played thus! Note transition to
Presto. Note perfect staccato on Presto theme. Note perfect timing on
Presto. Note what she does with the second theme on the presto and how she
arranges for some notes to be staccato, for added effect. If this isn't
played miraculously, I don't know what is!
Gavotte I and II from English Suite #6:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmES6GavI_II.html (2.8MB)
Surdina in for emphasis and contrast between sad/joking/playful. Gavotte I,
sad, ironic and mysterious, Gavotte II playful. Note perfectly executed
trills with correct timing. Note how wonderful the return to Gavotte I
sounds, with the surdina in again, after the playful character of Gavotte
II. I haven't heard anyone play this one as perfectly as that. Note perfect
ending of Gavotte I.
Gigue from English Suite #6:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmES6Gig.html (2MB)
All hell breaks loose again! This is the END of the Suite and Bach wants you
to know it. Note what Isolde does with the trills: The trills are
ASYNCHRONOUS! In the end she does the impossible and plays the final trill
with THE PEDAL! Jesus Christ! Suite ends with a BANG!
Hope you enjoyed it.
with harpsichordist Isolde Ahlgrimm.
To repeat a little from what I said in that other thread, Isolde was an
Austrian harpsichordist, I think born 1918 and died 1992. She came after
Landowska, who is admittedly more famous than her, but in my opinion Isolde
plays much better than Landowska, although both are simply terrific.
Isolde tought at conservatories in Austria and for full biographical
details, do a Google search on her full name. She has recorded all of Bach's
keyboard works on a special pedal harpsichord of her own, on PHILIPS LPs
around 1955. She had done extensive historical research on Bach. All
recordings are played from memory.
Isolde's performances have been termed "historic", both in terms of value
and in terms of style and she, herself, had been labeled "widow Bach".
Whenever she gave public performances in Germany and Austria, the crowed
apotheosed her.
When my dad was a Bachian, before his death in 1986, around the time of my
birth, in 1964, he bought her albums of WTC1, WTC2, French/English Suites,
Partitas and Small Preludes and Fugues. I grew up with her Bach recordings,
since I was a young boy. I did not understand Bach back then, but I have
very fond impressions of all these recordings. I am not aware if PHILIPS
re-issued the keyboard works on CD, so if you can find those LPs anywhere,
buy them. They are worth their money. Isolde has issued other Bach works on
CD, which can be found online, searching for her name.
I recorded some pieces yesterday, for the pleasure of the Bach audiences
here. The recordings are low quality, 22kHz, 8 bit, mono, converted to 44khz
16 bit mono and encoded as mp3. Apologies for the occasional inline noise,
but my house is not soundproof. Comments interspersed:
(The links are all redirection links. For the direct link, substitute .mp3
for .html)
Prelude #5 from WTC book 1:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC1P5.html (1.3MB)
Note the perfect timing. Isolde plays like clockwork. Note how interesting
the ending of the prelude is, with pedal. This is one prelude where most of
the work is done by the right hand, but I have yet to hear any
pianist/harpsichordist keeping such a perfect timing of the right hand.
Ending of Prelude is fireworks, with pedal!
Fugue #5 from WTC book 1:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC1F5.html (1.8MB)
Timing is absolutely perfect, although there is some dispute on whether Bach
intended those to be dotted sixteenths vs dotted thirysecondths. Isolde goes
for thirtysecondths, but the effect is fantastic. Pedal at the end with the
finishing chords, creates such a wonderful "bang" ending effect on this
fugue.
Prelude and Fugue #2 from WTC book 2:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC2P_F2.html (3.7MB)
Note sublime and quiet Prelude. Note fascinating and perfectly executed
legato on it. Fugue, mysterious, pastoral, quiet in the beginning, (as it
should be), an introduction to a musical prayer, until the first Stretto,
where she puts registers in. Note clear strettos. Note how absolutely
beautiful the pedal sounds on the bass on the augmented theme and how
pastoral transforms to grand and grave towards the end. Notice call of
inverted theme in the end with pedal. Have you heard any keyboardists who
bring the inverted theme out in the end instead of the regular theme?
(Compare with the staccato nonsense that Gould does on this prelude and
fugue for example).
Prelude and Fugue #16 from WTC book 2:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC2P_F16.html (5.3MB)
THIS is how Bach would want this prelude to sound. Majestic, grand, not
chicken-shit romance and quiet. Tutti! Double registers and pedal for added
effect. Wonderful! This is anger and passion, a profound statement, not some
whiney mellow musac melody. Fugue: This is one of the great fugues, and
Isolde does it justice with double stops. Note how Isolde gradually
transforms it from a slow start to a serious statement. Note additional
melodies coming out. Note bass playing the theme at the end.
Fugue #22 from WTC book 2:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmWTC2F22.html (4.3MB)
This is one of the most difficult fugues in all of WTC1/2. This is a hellish
nightmare, contrasted with its prelude which is melodic and romantic. Bach
wants passion, power, gravity, to the point of insanity, and Isolde does it
justice. Notice additional melodies creeping in. The harpsichord is ready to
explode! Can you detect the almost insane crux on bars 36-37?! THIS is how
this fugue SHOULD be played. It's fireworks! One of the most complex fugues!
Prelude and Presto (excerpt) from English Suite #6:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmES6Pre.html (3.8MB)
Grave! Majestic! Grand! Pedal and double stops! Timing, perfect! Clockwork.
This is what I call a hell of an introduction. You almost don't need to hear
the rest of it, when you hear the prelude played thus! Note transition to
Presto. Note perfect staccato on Presto theme. Note perfect timing on
Presto. Note what she does with the second theme on the presto and how she
arranges for some notes to be staccato, for added effect. If this isn't
played miraculously, I don't know what is!
Gavotte I and II from English Suite #6:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmES6GavI_II.html (2.8MB)
Surdina in for emphasis and contrast between sad/joking/playful. Gavotte I,
sad, ironic and mysterious, Gavotte II playful. Note perfectly executed
trills with correct timing. Note how wonderful the return to Gavotte I
sounds, with the surdina in again, after the playful character of Gavotte
II. I haven't heard anyone play this one as perfectly as that. Note perfect
ending of Gavotte I.
Gigue from English Suite #6:
http://users.forthnet.gr/ath/jgal/music/AhlgrimmES6Gig.html (2MB)
All hell breaks loose again! This is the END of the Suite and Bach wants you
to know it. Note what Isolde does with the trills: The trills are
ASYNCHRONOUS! In the end she does the impossible and plays the final trill
with THE PEDAL! Jesus Christ! Suite ends with a BANG!
Hope you enjoyed it.
--
I. N. Galidakis
http://users.forthnet.gr/ath/jgal/
Eventually, _everything_ is understandable
I. N. Galidakis
http://users.forthnet.gr/ath/jgal/
Eventually, _everything_ is understandable