Johann Sebastian Bach the Well-Tempered Clavier Vol.II, BWV

CYAN MAGENTA GELB SCHWARZ Booklet_T104_Seite_32 CYAN MAGENTA GELB SCHWARZ Booklet_T104_Seite_1_COVER Johann Sebastian Bach: 104 The Well-Tempered Clavier Vol. II, BWV 870–893 ET Evgeni Koroliov, Piano TAC CD 1: 72'20 CD 2: 72'22 1 Praeludium C major / C-Dur BWV 870 2'50 1 Praeludium F# major / Fis-Dur BWV 882 2'59 2 Fuga à 3 C major / C-Dur BWV 870 1'30 2 Fuga à 3 F# major / Fis-Dur BWV 882 2'11 3 Praeludium C minor / c-Moll BWV 871 2'38 3 Praeludium F# minor / fis-Moll BWV 883 3'48 4 Fuga à 4 C minor / c-Moll BWV 871 3'23 4 Fuga à 3 F# minor / fis-Moll BWV 883 3'45 5 Praeludium C# major / Cis-Dur BWV 872 2'16 5 Praeludium G major / G-Dur BWV 884 2'05 The Koroliov Series Vol. VI 6 Fuga à 3 C# major / Cis-Dur BWV 872 1'41 6 Fuga à 3 G major / G-Dur BWV 884 1'25 7 Praeludium C# minor / cis-Moll BWV 873 4'02 7 Praeludium G minor / g-Moll BWV 885 3'21 8 Fuga à 3 C# minor / cis-Moll BWV 873 2'25 8 Fuga à 4 G minor / g-Moll BWV 885 2'47 Johann Sebastian Bach 9 Praeludium D major / D-Dur BWV 874 3'37 9 Praeludium Ab major / As-Dur BWV 886 3'59 bl Fuga à 4 D major / D-Dur BWV 874 1'28 bl Fuga à 4 Ab major / As-Dur BWV 886 2'03 bm Praeludium D minor / d-Moll BWV 875 1'45 bm Praeludium G# minor / gis-Moll BWV 887 3'42 The Well-Tempered Clavier bn Fuga à 3 D minor / d-Moll BWV 875 2'24 bn Fuga à 3 G# minor / gis-Moll BWV 887 5'10 Vol. II, BWV 870– 893 bo Praeludium Eb major / Es-Dur BWV 876 3'04 bo Praeludium A major / A-Dur BWV 888 1'53 bp Fuga à 4 Eb major / Es-Dur BWV 876 3'19 bp Fuga à 3 A major / A-Dur BWV 888 1'26 bq Praeludium D# minor / dis-Moll BWV 877 3'33 bq Praeludium A minor / a-Moll BWV 889 6'36 Evgeni Koroliov, Piano br Fuga à 4 D# minor / dis-Moll BWV 877 5'47 br Fuga à 3 A minor / a-Moll BWV 889 1'36 bs Praeludium E major / E-Dur BWV 878 4'19 bs Praeludium Bb major / B-Dur BWV 890 3'17 bt Fuga à 4 E major / E-Dur BWV 878 5'17 bt Fuga à 3 Bb major / B-Dur BWV 890 3'02 bu Praeludium E minor / e-Moll BWV 879 2'13 bu Praeludium Bb minor / b-Moll BWV 891 3'14 cl Fuga à 3 E minor / e-Moll BWV 879 3'01 cl Fuga à 4 Bb minor / b-Moll BWV 891 3'19 cm Praeludium F major / F-Dur BWV 880 3'39 cm Praeludium B major / H-Dur BWV 892 1'38 cn Fuga à 3 F major / F-Dur BWV 880 1'42 cn Fuga à 4 B major / H-Dur BWV 892 3'17 co Praeludium F minor / f-Moll BWV 881 4'43 co Praeludium B minor / h-Moll BWV 893 3'55 cp Fuga à 3 F minor / f-Moll BWV 881 1'34 cp Fuga à 3 B minor / h-Moll BWV 893 1'42 CYAN MAGENTA GELB SCHWARZ TS Tonträger CYAN MAGENTA GELB SCHWARZ TS Tonträger Johann Sebastian Bach: second more abstract or less genre-oriented exempte d’impureté que comme ici.» (Süd- Impressum The Well-Tempered Clavier Vol.II music. And yet of course there is genre in the deutsche Zeitung ) second volume too. If for example one takes Recorded in Frankfurt / Main, 2001 « Il montre à ses auditeurs tant de particularités Hans von Bülow called it the “Old Testament of the B minor fugue in the second volume, a Microphones: 2 Neumann M49 de la musique que l’on aimerait tout de suite piano music” and others view it more or less as passepied, it is reminiscent of the F major Technical equipment: TACET réécouter son interprétation. » ( Hamburger a creation of the 5th Evangelist; the “Well- fugue from the first volume. Now I have the Abendblatt ) Tempered Clavier” is more than mere music feeling that the B minor fugue was written Instrument: Steinway D and yet is not least a piece of piano practice, a much earlier than the rest of the second vol- « Le superficiel n’est pas l’affaire de Koroliov. Il Tuning and maintenance of the piano: pastime for the “benefit and use of musical ume. All in all the second volume is somewhat manie de façon originale l’œuvre de Bach. Rien Ernst Kochsiek youth desirous to learn”. How do these two less homogeneous than the first, where apart ne découle de l’assurance prétendu du spé- spheres, to our mind largely incommensurable, from a few exceptions such as the A minor cialiste que Koroliov est sans aucun doute. Les Translations: Jenny Poole (English) fit together: transcendence on the one hand fugue everything is stylistically close together. structures, il les véhicule à travers des relations Marylène Gibert-Lung (French) and function on the other? In the second volume on the other hand there plastiques de parallèles musicaux. Ce genre de I don’t think the two are incommensurable. is a broad range, most of which can be classi- connaissances fait accorder finalement le jeu Cover photograph: Helmut Dollhopf / I don’t want to digress too far, but assuming fied as later style: just think of the Bb major subtil des deux mains avec la dynamique. Du Herbert Liedel, aus: »Haus des Lebens. we have a soul – and even nowadays we can prelude, the Bb minor fugue or the E major jeu de Koroliov résulte une clarté qui élargit en Jüdische Friedhöfe« (Stürtz-Verlag, Würzburg) safely presume that – where is it located? If it is fugue. The G major fugue is of older origin and plus la vue d’ensemble du plan de l’œuvre. » Cover design: Julia Zancker in the body or the body has life and soul, then there is a version of it from Bach’s time in ( Stuttgarter Zeitung ) Booklet layout: Toms Spogis the soul might be a type of engine to the body. Cöthen. Its accompanying prelude was pre- « Koroliov parvient ainsi à s’infiltrer à l’intérieur The body is something very temporary which sumably composed earlier too. Recording: Andreas Spreer de la musique partant de l’art des nombres et sooner or later comes to a bad end. And yet it All in all one could say that the second vol- Produced by Andreas Spreer de la forme, avec les contrepoints de Bach is equipped with and haunted by an almost ume offers a richer diet, whereas the first is comme avec les Illusions de Rythmes de Lige- god-like spirit. Or you could say, with medieval more straightforward. The pieces in the first c 2002 TACET ti … Pourquoi mon dieu tout le monde ne se pneuma. The same applies to works of art. volume are shorter on average and the forms p 2002 TACET retrouve pas depuis longtemps assis sur une île The most varied characters are arrayed in are simpler, particularly in the preludes. For déserte à écouter du Koroliov ? » ( Frankfurter these 48 preludes and fugues, first derived example, compare the two C major preludes, Rundschau ) from types and styles, whether from national that simple, wonderful piece in the first and the styles or rhetorical types. It would seem that harmonically so much more complex one in the this is a compendium of possibilities, similar to second volume. Or the two E major fugues. Of musical keys. Which begs the question: what is course I do not want to make a value judge- the relationship of the two volumes of the ment: for example the B minor fugue in volume Well-Tempered Clavier to each other? 1 is far more complex than the one in the sec- I wouldn’t say the difference was critical. In ond volume, although one cannot find a piece the first volume there is more genre and in the of the nature of the Bb minor fugue from vol- 2 TACET-T104_Seite_2 TACET-T104_Seite_31 31 Chopin à Duschniki (Pologne), au Budapest partie ainsi que les «Inventionen und Sinfoni- ume 2 in the first volume at all. – Or compare udes are often genre-oriented or even clearly Spring festival et au «Settembre Musica» à en». Durant l’année Bach 2000, TACET publia the sophisticated G# minor fugue from volume instrument-oriented. This applies less to the Turin. Il fut invité à jouer dans la Groâe Musik- un enregistrement du «Clavecin bien tempéré, 2 with the C# minor fugue in the first volume. fugues, although it sometimes occurs there halle de Hambourg, à la Kölner Philharmonie, première partie» ( TACET 93). Ces quatre en- In the former the second theme develops al- too. Some are quite clearly intended for the à la Gewandhaus de Leipzig, à la Konzerthaus registrements de Bach ont fait énormément de most unnoticeably from the counter subject of harpsichord and other, particularly gentle de Berlin et la Herkulessaal à Munich, pour la bruit dans la presse spécialisée internationale. the first, whereas in the C# minor piece the pieces, sound better on the clavichord. One Societa dei Concerti de Milan, au Teatro Olim- De nombreux critiques ne leur attestèrent pas themes are more starkly ordered and aligned.

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