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Johann Sebastian Bach – Die Kunst der Fuge BWV1080 – Sir Neville Marriner – ASMF – Pentatone (2004) - SACD ISO

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Music : Classical : Lossless
    Johann Sebastian Bach
– Die Kunst der Fuge BWV1080 – Sir Neville Marriner – ASMF – Pentatone   PTC 5186 140
(2004)

http://sa-cd.net/showtitle/1825

SACD rip via PS3 to iso (3.75 GB) | Classical


Reviews from SA-CD.net:

By canonical:
> according to some sources, Bach never
intended it to be performed,
> and it hasn’t been until late in the 20th Century.

The Art of
the Fugue did appear in European concert halls in 1927 … so more early 20th C than late 20th C.
> there
are no indications for the instruments,

While there may be no indication for instruments, I think it plain
(and widely understood) that Bach conceived the work for keyboard. The very absence of specific instrumentation almost
serves to confirm the obvious.
The advantage of using different instruments for different parts is that one can
highlight counterpoint more easily. Oddly, though, I think this is also the weakness … it can become almost too
easy. Why? Because every time Mr Violin or Ms Cello gets the theme, he or she will invariably shout out: “Oh
– it is me – I have it – oh I do so la dee dah – oh look at me”. And they can do this
almost without regard of what the other players are doing.

By contrast, when a single keyboard has to manage
4 parts, the artist has to conceive the whole in a completely different way – as a constrained problem: there is
only so much dynamic range. So you have to manage how you control sound levels, not only of each part relative to every
other fugal part, but of the the collective parts together over time throughout each fugue.

This recording
starts out with the strings doing a “Oh – it’s me – I have it” theme contest ….
right from the very first bar. Compare that to Glenn Gould’s solo *piano* performance (his organ performance of
same is best left unmentioned). Gould starts from nothingness. He starts pensively …. slowly. And he builds and
builds from nothingness, adding layer and layer of complexity. And builds …
Gould’s rendition is
genius.
The use of different combinations of instruments by the Academy of St Martin in the Fields, in the
different fugues, does seem to make the work more approachable. It is tastefully done, and it really works. At the same
time, the changing of instrumentation across the various ‘contrapuncti’ can sometimes seem to have
something slightly ersatz about it.

The sound on this SACD is rich and warm … really quite pleasant. It
must be stated that, at a few distinct places, there is some distortion … this is at its worst in the final
unfinished quadruple fugue (at about 6min10secs in the final track it becomes nasty, on both the SACD and CD layers)
… But overall, the quality of the sound one hears is superb for a 1974 recording. And the performances are
excellent too. It works far better for me than the version for string quartet by the Juilliard String Quartet –
even when similar combinations of instruments are at work.

But to hope for genius from this rendition may be
too much to ask. For that, we stay with Gould.

By beardawgs:

If there ever was a piece of
absolute absolute music, Bach’s final masterpiece is THE one. According to the legend (partially dismissed in the
booklet of this issue) blind genius was dictating the closing quadruple fugue from his deathbed to his son never to
finish it. And in the score it is left as it is, interrupted in the middle of the line.

The Art of the Fugue
is a compendium of theoretical musical knowledge of the era and it is still a towering monument of the western music,
alongside 48 Preludes and Fugues and St Matthew Passion. Actual manuscript is a puzzle on
its own – there are no indications for the instruments, and according to some sources, Bach never intended it to
be performed, and it hasn’t been until late in the 20th Century. Single theme is developed into various numbers
of voices according to the rigid rules of the fugue form. Main theme is based on Bach’s signature tune –
BACH – to be twisted, mirrored, inverted and tumbled in such a complex manner, resulting in a deeply moving
music. Even as the ultimate theoretical exercise in counterpoint, The Art of Fugue never lacks personality and
Bach’s ever present humanism.

Since Bach didn’t mark any instruments in the score, every
performance, especially by the chamber group is going to sound and feel different. There is no ‘performing’
edition as such, and this one being prepared by Marriner and Andrew Davis is unique as any other. Argument for
performing this collection with the chamber orchestra (instead of keyboard instruments) is in variety of colours and
textures that can be created for every single counterpoint (and there are 15 of them, plus 7 canons and fugues). There
are also (minor) differences in succession and with all that in mind, there can not be a ‘definite’
performance or recording.

Marriner and his chamber group (string quartet, 2 oboes, cor anglais, bassoon,
organ and two harpsichords) provide plenty of variety in different formations. Recorded in heydays of St. Martin in the
Fields, all of them are strong performers and excellent soloists, but my impression is that the arrangement here is
based more on the need for textural diversity than musical flow. My favourite performance/arrangement for the similar
forces is still Karl Munchinger with Stuttgart Chamber Orchestra, but that’s just a personal preference (and the
fact that I grew up with that recording). Marriner and his players are admirably impersonal, which is perfectly in tune
with the idea of the whole piece, but again, personally I prefer more human touch and a bit of Munchinger’s
serene melancholy. Otherwise, this is highly satisfying recording, with every counterpoint and voice clearly
distinguishable, and as a whole even moving, especially in full orchestral numbers.

The recording is not as
warm and spacious as some other in the series, but is in keeping with the style of the performance. Harpsichords are
solid and firm (a bit close as well), while organ and lower strings have nice bloom (if you’re bothered with the
non-musical noises of some instruments, there are quite a few of them too, but that’s not an issue for me).
Dynamic range is big, but I couldn’t get the impression of the space – presumably different numbers are
recorded with different microphone positioning, but again, it all serves the purpose of variety and diversity from one
section to another.

This is just one possible understanding of the puzzle that The Art of the Fugue is, and
as I said, there can not be a definite performance. I wouldn’t part from any version we already have – be
it on the piano, organ or chamber orchestra. This is still a very nice and valuable addition to the collection.

Details

Released    February 1, 2004
Recorded   July 1974, Brent Town Hall, London (Wembley)
Genre        Classical
Label         Pentatone
Length       80:27

Track List

1.
  Contrapunctus 1 3:13
2.   Contrapunctus 2 3:19
3.   Contrapunctus 3 3:51
4.   Contrapunctus 4 3:36
5.   Canon alla Ottava 2:33
6.   Contrapunctus 5 3:37
7.   Contrapunctus 6, a4, im Stile francese 4:16
8.   Canon alla Decima, Contrapuncto alla Terza 4:31
9.   Contrapunctus 7, a4 per Augmentationem et Diminutionem
3:27
10. Contrapunctus 8, a3 6:43
11. Canon alla Duodecima in Contrapuncto alla Quinta 1:58
12.
Contrapunctus 9, a4, alla Duodecima 2:55
13. Contrapunctus 10, a4, alla Decima 4:14
14. Canon per
Augmentationem in contrario motu 5:43
15. Contrapunctus 11, a4 5:12
16. Contrapunctus 13, a3 (rectus) 2:18
17. Contrapunctus 12, a4 (rectus) 2:34
18. Fuga a 2 Clav. 2:12
19. Contrapunctus 13, a3 (inversus) 2:16
20. Contrapunctus 12, a4 (inversus) 2:24
21. Alio modo Fuga a 2 Clav. 2:14
22. Fuga a 3 Sogetti (unfinished)
6:51

This SACD ISO was ripped by sacd-ripper for PS3 version 0.36.

JPG Artworks scanned at 600dpi
are included.

Thanks to the original uploader!                                                             

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