ORFEO International – Catalogue


MP 1801

Johann Sebastian Bach

Solo Piano Music

Orfeo • 2 CD • 2h 12min

Order No.: MP 1801


J.S. Bach: Italian Concerto F major BWV 971 (from: Clavierübung 2. Teil)
J.S. Bach: Symphonia No. 1 major BWV 787
J.S. Bach: Symphonia No. 2 minor BWV 788
J.S. Bach: Symphonia No. 3 major BWV 789
J.S. Bach: Symphonia No. 4 minor BWV 790
J.S. Bach: Symphonia No. 5 major BWV 791
J.S. Bach: Symphonia No. 6 major BWV 792
J.S. Bach: Symphonia No. 7 minor BWV 793
J.S. Bach: Symphonia No. 8 major BWV 794
J.S. Bach: Symphonia No. 9 minor BWV 795
J.S. Bach: Symphonia No. 10 major BWV 796
J.S. Bach: Symphonia No. 11 minor BWV 797
J.S. Bach: Symphonia No. 12 major BWV 798
J.S. Bach: Symphonia No. 13 minor BWV 799
J.S. Bach: Symphonia No. 14 major BWV 800
J.S. Bach: Symphonia No. 15 minor BWV 801
J.S. Bach: Partita No. 1 B flat major BWV 825
J.S. Bach: Präludium und Fuge E flat major BWV 552
J.S. Bach: Toccata minor BWV 914
J.S. Bach: French Suite No. 2 c minor BWV 813
J.S. Bach: Partita No. 4 D major BWV 828
J.S. Bach: Partita No. 2 d minor BWV 1004 for Violin solo


Elena Kuschnerova (Klavier)
Vardan Mamikonian (Klavier)
Carl Seemann (Klavier)
Konstantin Lifschitz (Klavier)

Johann Sebastian Bach: Solo Piano Music

Today, there is no doubt that Johann Sebastian Bach took Baroque music to its sublime zenith. That was not always clear to his contemporaries. They regarded Bach’s demanding fugues as approaching theoretical music: highly elaborate, but on the border of unplayability. MP 1801
MP 1801
Just how much Bach was ahead of his time can be gauged by the fact his ‘piano’ music (in the Baroque period, all keyboard instruments were termed ‘clavier’) engaged the greatest among his successors: Mozart, Beethoven, Schumann, Chopin, Debussy and Shostakovich. All of them (and many others) dealt with Bach’s music in some of their most significant compositions, the preludes and fugues from the Well-Tempered Clavier here forming the pivotal point. Up to today, Bach’s music for keyboard instruments has proven to be an inexhaustible source of musical abundance, but it is still open to the most differing interpretational approaches.
Four pianists perform Bach on this album. They stand for different periods in interpretational history, beginning with the ‘New Objectivity’ of Carl Seeman, born in 1910, up to the highly virtuoso art of Konstantin Lifschitz, born in 1976 and also taught by Alfred Brendel. The four personalities of the pianists on this album merge with Bach’s music, giving a notion of why it is accorded universal magnitude.

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