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catching Jul 16, 2008
To understand and appreciate Bach means to be fascinated by the art form of the fugue, Bach's most important tool in giving us the wonderful compositions we know from him. A fugue is both a mathematical equation and an exploration into the unknown. Thus, it is never boring, least of all in the way in which Back used it.
The fugues performed by the Emerson String Quartet were originally written for the harpsichord, under the name Das Wohltemperierte Clavier (The Well-tuned Piano). Although some purists frown at such re-arranging, as they did when Glenn Gould played Bach on a Steinway instead of on a harpsichord, it can be defended by pointing out that Bach himself re-used many of his compositions in other works and for other instruments. But probably the best defense is the utter beauty and thrilling experience that is the result, as is apparent from the recording by the Emerson String Quartet.
1 of 1 found the following review helpful:
Emerson Quartet plays Bach Fugues May 25, 2008
This is a wonderful transcription of many of Bach's fugues for the keyboard that clearly delineate the several parts in counterpoint, beautifully phrased and played by the masterful Emerson Quartet. The music itself never fatigues and rewards repeated listening--it is so good to be able to hear this music that is so rarely performed in the concert hall.
10 of 14 found the following review helpful:
A Very "Classical" Reading... Apr 10, 2008
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The Emerson here has purposefully chosen a very Haydnesque Classical mode of expression instead of attempting a more Beethovenian Romantic approach--(Haydn: very thin and airy; Beethoven: much bark and bite).
For example, the great b-minor Fugue (S.869) here sounds like "The Lark" instead of the "Große Fuge"--which is a pity because (as Pablo Casals, Glenn Gould, and E. Power Biggs have shown) Bach can be convincingly realized with vehemently passionate subjectivity.
The Emerson's anemic lackluster reading here is distinctly plain--and very nearly boring.
The Haydnesque approach is fine with the Art of Fugue due to the inherent Augenmusik nature of the work. The Fugues (and Preludes) of the Well-Tempered Clavier--(especially Book 1)--are quite another matter wherein each piece captures a peculiar mood and idea.
Overall it's a nice disc, but it could have been better.
The Emerson should rosin-up its bows because the Leipziger Streichquartett is treading on its coattails with amazing programming and technical dexterity: with this issue, the Emerson has fallen behind...
String Quartets by Wagner, Puccini, Verdi
Bruckner: String Quintet F major/String Quartet C minor
String Quartet
Berg: Complete String Quartets
Debussy: String Quartet; Fauré: String Quartet; Caplet: Conte Fantastique
Ravel, Tailleferre, Milhaud: String Quartets
Schönberg: STRING QUARTET D MAJOR / STRING QUARTET OP 7
Schoenberg: Chamber Music
Schoenberg: String Quartets 2 & 4
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4 of 6 found the following review helpful:
 Very Nice Project Apr 04, 2008
I really enjoy the interplay between players. These performances facilely brings out WTC's inner structure and makes these interactions three-dimensional. Unlike the Art of Fugue, one can enjoy to hear a variety of subjects and countersubjects. (I understand the Art of Fugue used permutations of a single subject!)
I would have given this recording 5 stars if if weren't for an aural sameness throughout. I understand this sometimes happens when arranging for string instruments, but clearly, I would have liked more dynamics and shading at the performance level. Otherwise, highly recommended.
PS: The present recording features 21 fugues of the famous "48". Perhaps the Emerson would commission the arrangements for the remaining (27) fugues for a future recording...and what about arranging the (48) preludes for string quartet? (Now THAT would be a more of a challenge to pull off!)
My two cents.
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