作曲家盒裝系列31
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巴哈：平均律全集、郭德堡變奏曲(5CD)
瓦爾哈，大鍵琴
簡介:
巴哈的第一冊平均律和第二冊發行時間前後相隔20年，第一冊是在1722年發行，這是他為了競逐萊比錫樂長一職而集結的作品，該冊第一頁就說明了這是為了有心精進彈奏技術，以及技術已經成熟，希望當作消遣的人而創作的作品。對巴哈而言，第一冊曲集是他希望建立自己身為教師和學者地位的作品，畢竟作為一位沒有接受過正統大學教育的音樂家，巴哈不能靠學歷證明自己，而要靠作品來幫他說話。20年後他出版第二冊時，情形已經不同了，這時的巴哈已經不用再靠作品證明他的實力，也因此他在這冊曲集中更放得開，在風格和樂曲的篇幅上都更加的多變而長大，其中可以見到他甚至採用文藝復興時代的古風複音技法來創作，也可以看到他採用最新流行的嘉蘭特技法來創作。這套曲集可以用管風琴、大鍵琴或是古鋼琴演奏，但巴哈個人似乎較青睞大鍵琴。巴哈在鍵盤作品中最偉大的一套作品，應該屬長達近一小時的郭德堡變奏曲，在這套錄音中，將巴哈的鍵盤原作和後世的改編作交雜互陳，讓我們一次瞭解巴哈詮釋的多層面風格。
瓦爾哈是20世紀戰後最偉大的管風琴家之一，他是一位失明的演奏家，在巴哈曲目的詮釋上特別受到推崇，前後兩度受邀灌錄巴哈管風琴作品全集，其中第二次的錄音前後共進行了15年的時間，可謂極大的工程。這套他以巴洛克時代安梅爾兄弟所製的古大鍵琴、於1961年間以立體聲於漢堡灌錄的巴哈平均律錄音，在近年來才再度被法國EMI挖掘出來重新發行，讓許多人驚訝於瓦爾哈在大鍵琴上彈奏巴哈的另一種風貌，也呈現了這位失明管風琴名家的另一種巴哈見解。

Maurizio Pollini, a living legend of the piano, records the benchmark repertoire of the Well-Tempered Clavier for the first time in his storied career. Thus, this album is an event--a summit meeting of masters. Despite having played the Well-Tempered Clavier in concert halls for more than twenty years, Pollini intensively restudied the music before consenting to record it. His humility and dedication result in a transcendent performance that is less an interpretation than a revelation. Hugely popular in its own right, as a Pollini project the Well-Tempered Clavier will excite critics and his fan base alike as a crown jewel of the Bach discography on any label. Contained on 2 CDs, this recording includes all 24 Preludes and Fugues.

Wanda Landowska, who continued to perform and record up to her death in 1959, was renowned as the greatest harpsichordist of the first half of the twentieth century, resurrecting the instrument and taking a scholarly approach to the performance of music from the seventeenth and eighteenth centuries. This recording of Bach’s Well-Tempered Clavier, made between 1949 and 1954, was begun to commemorate the bicentenary of the death of Bach in 1750. As with all of Landowska’s recordings, what strikes the listener most is her vitality, her musical integrity, and her total commitment to the music she is playing. A contemporary reviewer noted at the time, “All such features of her playing should be studied and pondered, for here is a great musician interpreting in the light of long and fruitful experience and study. Those who know the score best should forget their theories and listen to what she has to say.”