Composer: J.S. Bach
Works: Twelve Preludes and Fugues from the Well-Tempered Clavier Book One Nos 4, 9, 10, 11, 12, 13, 14; Book Two Nos 27, 30, 31, 39, 48; Capriccio on the departure of a beloved brother BWV 992; Toccata and Fugue in D major BWV 912
Performers: Wilhelm Kempff, piano
Recording: Recorded 1976
Label: Deutsche Grammophon Eloquence 457 653-2
The music of Johann Sebastian Bach, often regarded as the pinnacle of the Baroque canon, is imbued with a complexity that reveals itself through meticulous performance and interpretation. The Well-Tempered Clavier, a cornerstone of keyboard literature, showcases the composer’s innovative use of counterpoint and harmonic exploration across all twenty-four keys. Wilhelm Kempff’s 1976 recording of select Preludes and Fugues, along with the Capriccio and Toccata and Fugue, offers a glimpse into Bach’s genius, yet the execution presents a mixed portrait of the esteemed pianist’s artistry.
Kempff’s choice of twelve works from the Well-Tempered Clavier, while showcasing some of the more lyrical Preludes, raises questions about the selection process. The absence of a complete set may leave listeners pondering the rationale behind this arbitrary assortment. The performances exhibit a striking inconsistency: moments of lyrical grace, particularly in the Eleventh Prelude and Fugue, are juxtaposed with instances of haphazard phrasing and uneven dynamics. For example, the Prelude in C minor (No. 4) displays Kempff’s ability to impart an emphatic character, yet the abruptness of the ending in the E minor Fugue (No. 10) presents a sense of incompleteness that undermines the overall coherence.
Technical execution is equally variable. Kempff’s trills in the Twelfth Prelude reveal a troubling lack of precision, while the Fugue that follows teeters on the edge of stolidness, recovering only in its final moments. His legato phrasing can soar with beauty; however, inflectionless passages muddle the interpretative clarity, particularly in the G major Prelude (No. 39), where fractured tempi create an unconvincing narrative arc. The contrast in Kempff’s interpretive choices is stark: some Preludes and Fugues resonate deeply, while others feel cursory, as if he were merely skimming over Bach’s intricate textures.
The recording quality of this remastered issue from Deutsche Grammophon generally adheres to high standards, yet the unevenness in Kempff’s playing may mislead one to question the integrity of the engineering. The clarity of individual lines is often compromised by the aggressive highlighting of certain voices in the Fugue following Prelude No. 27, where the bass notes become overshadowed rather than supported. The Capriccio, with its poignant lament, is particularly engaging, yet Kempff’s brisk interpretation of the Adagissimo movement may not fully capture the profound introspection that this piece demands.
While Kempff’s Toccata and Fugue in D major stands out as a more compelling performance, it is a relief to find consistency in his approach here, showcasing his deep understanding of the work’s dramatic potential. However, this singular strength does not compensate for the erratic nature of the other pieces on the disc, which leave one questioning the overall efficacy of this compilation.
this recording presents a complex portrait of Wilhelm Kempff’s engagement with Bach. His interpretive brilliance shines through in certain selections, revealing a profound connection to the music, yet it is often marred by uneven execution and questionable interpretative choices. While dedicated Bach enthusiasts may find merit in Kempff’s insights, the erratic nature of this recital may not serve as the ideal introduction to the keyboard works of one of the greatest composers in history.
