Voilá, finalement, le cd avec la magistrale version du deuxiéme Livre par le grand maitre Leonhardt. J'aime beacoup plus ce deuxiéme livre que le premier. Il est vraiment plus calme, plus contemplatif et sourtuot plus poétique. Et jouée avec les mains magiques d'un tel Maitre, la Musique comme que rempli l'air, les sens, l'univers. Le chef-d'oeuvre du grand Bach sonne parfaite avec Gustav Leonhardt. Je l'écoute presque tous les jours, avant ou aprés lire de la poésie, et je peut sentir la plenitude couvrir toute mon corps. Bref, un disque magistrale, par un maitre malheuresement dejá disparu, et qui nous manque beacoup. (Je vous en prie d'excuser mes erreurs de français, mais je suis portugais...). Merci.
This is the second in the series, and covers a later period of composition than the first. I always think that these work well with a piano forte and look forward even to Beethoven. However, this performance is very good and fits the period of writing very well. I think that it takes courage for anyone to undrertake playing Das Wohltemperierte Klavier either I or II as they test the mastery of the keyboard instrument of their choice. Clavier, harpsichord, piano, or organ all lead the performer down slightly different paths in performance. Gustav Leonhardt is a master of his instrument, and provides a very satisfying performance. A master playing a master.
5つ星のうち3.0SURPRISINGLY METRICAL, BUT THAT ACOUSTIC!
2008年2月16日にアメリカ合衆国でレビュー済み
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This, the second volume of Leonhardt's complete WTC recording, shares the same strengths and weaknesses as the first. Long ago I joined the ranks of those who found his performances too eratic rhythmically, but either I've adjusted or this is a very early recording, because his meter at times is so strident it's almost militaristic. He also uses more varied registration than I expected from him, although he refrains from registration changes while he's playing, a la Landowska (whose performance of the WTC remains, for me, the gold standard). What kept me from giving this recording higher marks is the extremely echoey acoustics--it sounds like it was recorded in the Carlsbad Caverns. I know 18th-century palaces had marble floors and high, vaulted ceilings and were far more reverberant than today's salons or concert halls, but those rooms were also filled with people in flowing brocades and velvets that would have absorbed some of that echo. It makes prolonged listening quite uncomfortable, if not unbearable. A shame, because it's an interesting interpretation from a major artist.