Bach Wohltemperierte Klavier, Part 2
This follow-up to Levin’s recording of Book 1 takes a typically scholarly approach, but it still only really catches fire when he touches the work’s emotional core
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Hänssler
Magazine Review Date: 1/2001
Media Format: CD or Download
Media Runtime: 136
Catalogue Number: 92 117
Tracks:
| Composition | Artist Credit |
|---|---|
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: D sharp minor, BWV877 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Clavichord Robert Levin, Organ Robert Levin, Harpsichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: E, BWV878 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Clavichord Robert Levin, Harpsichord Robert Levin, Organ |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: E minor, BWV879 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Organ Robert Levin, Harpsichord Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: F, BWV880 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Harpsichord Robert Levin, Organ Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: F minor, BWV881 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Organ Robert Levin, Harpsichord Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: F sharp, BWV882 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Organ Robert Levin, Harpsichord Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: F sharp minor, BWV883 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Clavichord Robert Levin, Harpsichord Robert Levin, Organ |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: G, BWV884 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Harpsichord Robert Levin, Organ Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: G minor, BWV885 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Clavichord Robert Levin, Organ Robert Levin, Harpsichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: A flat, BWV886 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Harpsichord Robert Levin, Organ Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: G sharp minor, BWV887 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Harpsichord Robert Levin, Clavichord Robert Levin, Organ |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: A, BWV888 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Organ Robert Levin, Clavichord Robert Levin, Harpsichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: A minor, BWV889 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Organ Robert Levin, Clavichord Robert Levin, Harpsichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: B flat, BWV890 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Harpsichord Robert Levin, Clavichord Robert Levin, Organ |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: B flat minor, BWV891 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Organ Robert Levin, Clavichord Robert Levin, Harpsichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: B, BWV892 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Clavichord Robert Levin, Harpsichord Robert Levin, Organ |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: B minor, BWV893 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Harpsichord Robert Levin, Organ Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: C, BWV870 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Harpsichord Robert Levin, Organ Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: C minor, BWV871 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Organ Robert Levin, Clavichord Robert Levin, Harpsichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: C sharp, BWV872 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Clavichord Robert Levin, Harpsichord Robert Levin, Organ |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: C sharp minor, BWV873 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Organ Robert Levin, Clavichord Robert Levin, Harpsichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: D, BWV874 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Clavichord Robert Levin, Harpsichord Robert Levin, Organ |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: D minor, BWV875 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Harpsichord Robert Levin, Organ Robert Levin, Clavichord |
| (Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier, Movement: E flat, BWV876 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Robert Levin, Clavichord Robert Levin, Organ Robert Levin, Harpsichord |
Author: Nalen Anthoni
What was successful in Book 1 (11/00) is just as successful here. And to his previous line-up of four keyboards, Levin adds a fifth. It’s a fortepiano, a copy of a 1749 instrument by Gottfried Silbermann, whom Bach is said to have helped as both friend and colleague; so there is reason to believe that he would approve of Levin’s choice. Six pairs are allotted to this instrument and to the two-manual harpsichord. The remainder is shared out as three pairs for one-manual harpsichord, four for clavichord and five for organ. The matching of pieces to instruments remains artistic and Hanssler’s choice of levels to suit each instrument is mostly right, too. But the fortepiano spreads across the stage (as does the harpsichord sometimes) and it is disconcerting to hear bass and treble notes so unnaturally separated.
The performances in Book 1 weren’t unconditionally appealing because Levin wasn’t unconditionally effective in going beyond the formal aspects of these pieces. In general, he paid least attention to the subjective elements of the pairs played on clavichord and harpsichord, and the most to those chosen for the organ. That is largely true of this set, too, and there is still a desire to push forwards which is at its most remorseless in the pairs in D sharp minor (two-manual harpsichord), E minor (fortepiano) and F sharp (one-manual harpsichord). Levin doesn’t live up to some of his own descriptions either. For example, his performance of the G sharp minor Fugue (two-manual harpsichord) is too severe to correspond to his belief that it is ‘a very soulful, pensive piece’.
Nevertheless, there is also a more sympathetic attitude towards these instruments. Sample the pairs in C sharp major and F sharp minor (clavichord), F minor (fortepiano) and G (two-manual harpsichord) to hear how much more communicative Levin can be when he allows himself to be drawn into the emotional core of this wide-ranging work. These are affecting interpretations, on the same high level as the pairs of pieces on the organ. When Levin is good, he is very good indeed.'
The performances in Book 1 weren’t unconditionally appealing because Levin wasn’t unconditionally effective in going beyond the formal aspects of these pieces. In general, he paid least attention to the subjective elements of the pairs played on clavichord and harpsichord, and the most to those chosen for the organ. That is largely true of this set, too, and there is still a desire to push forwards which is at its most remorseless in the pairs in D sharp minor (two-manual harpsichord), E minor (fortepiano) and F sharp (one-manual harpsichord). Levin doesn’t live up to some of his own descriptions either. For example, his performance of the G sharp minor Fugue (two-manual harpsichord) is too severe to correspond to his belief that it is ‘a very soulful, pensive piece’.
Nevertheless, there is also a more sympathetic attitude towards these instruments. Sample the pairs in C sharp major and F sharp minor (clavichord), F minor (fortepiano) and G (two-manual harpsichord) to hear how much more communicative Levin can be when he allows himself to be drawn into the emotional core of this wide-ranging work. These are affecting interpretations, on the same high level as the pairs of pieces on the organ. When Levin is good, he is very good indeed.'
Bach Wohltemperierte Klavier, Part 2
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