Bach Well-Tempered Clavier, Book 1
An impressive new version of Bach’s contrapuntal masterpiece which employs a generally broader approach than normal
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Gaudeamus
Magazine Review Date: 4/2001
Media Format: CD or Download
Media Runtime: 129
Mastering:
DDD
Catalogue Number: CDGAX251
Tracks:
| Composition | Artist Credit |
|---|---|
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: G sharp minor, BWV863 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: A, BWV864 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: A minor, BWV865 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: B flat, BWV866 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: B flat minor, BWV867 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: B, BWV868 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: B minor, BWV869 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: C, BWV846 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: C minor, BWV847 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: C sharp, BWV848 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: C sharp minor, BWV849 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: D, BWV850 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: D minor, BWV851 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: E flat, BWV852 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: E flat minor/D sharp minor, BWV853 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: E, BWV854 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: E minor, BWV855 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: F, BWV856 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: F minor, BWV857 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: F sharp, BWV858 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: F sharp minor, BWV859 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: G, BWV860 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: G minor, BWV861 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: A flat, BWV862 |
Johann Sebastian Bach, Composer
Gary Cooper, Harpsichord Johann Sebastian Bach, Composer |
Author: John Duarte
Bach added no indication of tempo to the scores of the WTK; the performer is left to his own devices – his perception of the appropriate speed, which may vary a little according to how he feels on the day and how he assesses the acoustic of the place of performance. There is nevertheless close agreement between Cooper and Moroney on the matter of registration; neither feels the need to ‘enhance’ the music by introducing changes of instrumental colour – which is in any case hardly practicable in the fugues.
Where tempos are concerned, the differences are mostly marginal in the Preludes, but Cooper is (to my ears) uncomfortably the slower in those in E flat minor (No 8) and G minor (No 16), though his unusually slow speed in the C major (No 1) is undeniably effective, exploiting the long sustain of the instrument he uses (a 1980 copy by Goble of one by Christian Zell of 1728). On the other hand, his brisker pace in the D minor and F sharp minor Preludes (Nos 6 and 14) falls the more happily on these ears. Likewise, with the Fugues there is more agreement than material difference on tempo.
Cooper’s phrasing and articulation are as well conceived as those of Moroney, and a natural sense of rubato removes any trace of stiffness, particularly in the Fugues which, if not viewed as human documents rather than mathematical exercises, are more prone to suffer from it. To mention but one detail, his steady rather than ‘terraced’ acceleration through the extended trill at the beginning of the G minor Prelude (No 16) while maintaining a steady pulse is accomplished with apparent ease.
Cooper’s overall approach is perhaps a touch more extrovert than Moroney’s and unfailingly musical with it. It will change as the years pass but it is both essentially respectful and refreshing to hear. The resonance of the instrument may at first raise doubts regarding the clarity of more ‘crowded’ textures to come, but they do not prove justified in this superbly engineered recording. Strongly recommended as an addition to any collection of alternative views of this timeless music.'
Where tempos are concerned, the differences are mostly marginal in the Preludes, but Cooper is (to my ears) uncomfortably the slower in those in E flat minor (No 8) and G minor (No 16), though his unusually slow speed in the C major (No 1) is undeniably effective, exploiting the long sustain of the instrument he uses (a 1980 copy by Goble of one by Christian Zell of 1728). On the other hand, his brisker pace in the D minor and F sharp minor Preludes (Nos 6 and 14) falls the more happily on these ears. Likewise, with the Fugues there is more agreement than material difference on tempo.
Cooper’s phrasing and articulation are as well conceived as those of Moroney, and a natural sense of rubato removes any trace of stiffness, particularly in the Fugues which, if not viewed as human documents rather than mathematical exercises, are more prone to suffer from it. To mention but one detail, his steady rather than ‘terraced’ acceleration through the extended trill at the beginning of the G minor Prelude (No 16) while maintaining a steady pulse is accomplished with apparent ease.
Cooper’s overall approach is perhaps a touch more extrovert than Moroney’s and unfailingly musical with it. It will change as the years pass but it is both essentially respectful and refreshing to hear. The resonance of the instrument may at first raise doubts regarding the clarity of more ‘crowded’ textures to come, but they do not prove justified in this superbly engineered recording. Strongly recommended as an addition to any collection of alternative views of this timeless music.'
Bach Well-Tempered Clavier, Book 1
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