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Bach Up

Dimitri Naïditch

Jazz - Released November 15, 2019 | Dinaï Records

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Play Bach N. 2

Jacques Loussier

Jazz - Released January 1, 1960 | Universal Music Division Decca Records France

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Le Clavier bien tempéré (Livre I)

Pierre Hantaï

Chamber Music - Released November 28, 2002 | Mirare

Distinctions 5 de Diapason - Choc du Monde de la Musique - 10 de Répertoire - 4F de Télérama - Joker de Crescendo
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Le Clavier bien tempéré (Livre I)

Jenő Jandó

Classical - Released November 6, 1997 | Naxos

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Jazz Piano French Touch - Petrucciani, Legrand, Loussier,

Jacques Loussier

Jazz - Released November 11, 2020 | UME - Global Clearing House

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Johann Sebastian Bach : The Well-Tempered Clavier, Book two (Le Clavier bien tempéré, livre 2)

Christophe Rousset

Classical - Released November 4, 2013 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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J'écoute Bach et Haendel avec ma maman

Anne Queffélec

Classical - Released December 3, 2012 | Mirare

Booklet
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Johann Sebastian Bach : Œuvres pour clavier

Christophe Rousset

Classical - Released November 4, 2010 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Choc Classica de l'année
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J. S. Bach: Le clavier bien tempéré, Livre I

Chantal Stigliani

Classical - Released January 21, 2019 | Calliope

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Le Clavier bien tempéré (Livre I)

Luc Beauséjour

Classical - Released March 27, 2007 | Naxos

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Bach: Le clavier bien tempéré, Livre 2

Jérôme Granjon

Classical - Released March 15, 2021 | Anima-Records

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Bach : Contemplation

Anne Queffélec

Classical - Released January 8, 2009 | Mirare

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Johann Sebastian Bach : The Well-Tempered Clavier (Le Clavier bien tempéré)

Johann Sebastian Bach

Classical - Released March 24, 2014 | Satirino Records

Distinctions 5 de Diapason - Choc de Classica
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37ème Festival International de Piano de La Roque d'Anthéron

Iddo Bar-Shaï

Classical - Released July 14, 2017 | Mirare

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Festival International de Piano de La Roque d'Anthéron: 36e édition

Zhu Xiao-Mei

Classical - Released July 15, 2016 | Mirare

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Johann Sebastian Bach: The Complete Works for Keyboard, Vol. 8: Köthen, 1717-1723 - For Maria Barbara

Benjamin Alard

Classical - Released May 12, 2023 | harmonia mundi

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The new delivery of the complete works for keyboard of Johann Sebastian Bach (Volume 8), brought to us by harmonia mundi, and featuring Benjamin Alard on the harpsichord, clavichord, and organ, is centred around the composer’s work while he was with his first wife, Maria Barbara. Featuring 3 CDs, or 85 tracks in this digital version, it brings together a series of compositions for educational purposes. On the one hand the Inventions and Sinfonias, on which all apprentice pianists and harpsichordists have tried their hand, and, on the other hand, the six French Suites probably composed to perfect the musical skills of their eldest son, Wilhelm Friedemann.They are “French” only in virtue of the apocryphal title which was given to them after Bach’s death. We find no trace of this mentioned on the original manuscripts. Bach's music also escapes strict classification, even if the influence of Couperin can be quite clearly perceived in this vast corpus, demonstrated by Benjamin Alard’s clever introduction of some Preludes by the French composer as an epigraph to the French Suites of Bach. Above all, these pieces are reminiscent of his own genius, with various influences intended to create a world belonging to the Cantor.Faithful to his organological research, here Benjamin Alard uses a pedal clavichord like that built by the French organ maker, Emile Jobin. The colour of this discreet instrument is simply bewitching. A sort of fruitiness is exuded, the full depth and subtlety of which can be savoured, notably in the Pedal-Exercitium, BWV 598 and in the transcription for keyboard of the famous Chaconne - Second Partita, initially composed for the violin. We also like the golden tones of the Couchet harpsichord from 1645, "restored" (modified later) by Blanchet in around 1720. We find the entirety of Benjamin Alard’s skill in this new recording; his science which illuminates complicated polyphony, his clean energy, and his curiosity for fascinating worlds of sound. © François Hudry/Qobuz
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La Danse

Martin James Bartlett

Classical - Released January 26, 2024 | Warner Classics

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Maurice Ravel's Le tombeau de Couperin has sometimes been paired with music by its namesake, naturally enough, but here, pianist Martin James Bartlett expands the concept a bit, adding Rameau at the beginning, some little two-piano pieces by Reynaldo Hahn and Ravel's apocalyptic La valse as a grand finale. The result is that he looks outward from the neoclassic world, catching the memorial function of Le tombeau de Couperin (the work's six movements memorialize friends of the composer killed in World War I) and carrying overtones of the whole world that vanished with the war. The inclusion of the pair of two-piano pieces from Le ruban dénoué by the intensely nostalgic Hahn intensifies the mood. Bartlett's tone is measured, avoiding sentiment and holding to an elevated aesthetic. His La valse has an impact that is all the greater in this context. Ravel denied that this work was a symbolic representation of the decline of the old central European culture or of anything else, but one might rejoin that he did not have to realize it for this to be so. Hahn plays the work in its single-piano arrangement, made by Ravel. This is not often heard, due not only to its sheer difficulty but also because of its swirling density. Having introduced the second piano of Alexandre Tharaud in the Hahn works, Bartlett could easily have kept it on for the Ravel. However, his decision was intelligent; the single-piano arrangement has an overwhelming quality that works very well here. This is an unusually cohesive and powerful program, beautifully performed, and the album landed on classical best-seller lists in early 2024.© James Manheim /TiVo
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The Well Tempered Piano, Vol. I

Alexandra Sostmann

Classical - Released November 3, 2023 | Prospero Classical

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Bach: Well-Tempered Clavier, Book 2 (Excerpts)

Piotr Anderszewski

Classical - Released January 29, 2021 | Warner Classics

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There is no hint of historically oriented performance here as pianist Piotr Anderszewski performs pieces, half of them to be exact from Book II of Bach's Well-Tempered Clavier, BWV 870-893, in a way that apparently no other keyboardist, modern or historical, has ever done. There are various surprises in Anderszewski's interpretation, but the big one is that he departs from Bach's published order. He is straightforward about what he is doing, asserting in the notes that "it seems to me that [the published order] is not one in which the pieces follow each other with an emotional, musical inevitability." Anderszewski supplies his own ordering, which leaves the C major prelude and fugue (but not the C minor) at the beginning and the B major and minor pieces at the end. In between are pairs in fourth- and third-related keys, building toward a somberly slow Fugue in G sharp minor. The idea makes sense on its own terms, and Anderszewski could cite in his favor that some of these pieces were probably written much earlier than others and were roped by Bach into the final set; he didn't sit down and write them out in sequence. Anderszewski's execution is both rigorous and attractive. He perceives the works as "character pieces" and "realised the particular importance of giving each theme of each fugue a specific character." These are carried through the fugues with impressive consistency and control. Throughout, Anderszewski keeps his piano to chamber dimensions, and the variety with the overall quiet dynamic levels becomes quite absorbing. The downside is that although Bach reworked his compositions in many ways, he never did so in anything like this way, and, with a composer as systematically minded as Bach, one hesitates to fool with basic structures. Taken on its terms, however, Anderszewski's performance succeeds.© TiVo