Following its most successful recording, The Art of Fugue, the Emerson String Quartet again dedicates its mastery to the music of J.S. Bach. The quartet, which celebrated its 30th anniversary in 2007, presents the world-pr... more »emiere recording of the four-part fugues from the famous Well-Tempered Clavier as arranged for string quartet. The Emerson Quartet's 2003 release of The Art of Fugue was a critical and commercial success selling 50,000 units worldwide. Repertoire from this world-premiere recording will be included in the Emerson Quartet's touring program.« less
Following its most successful recording, The Art of Fugue, the Emerson String Quartet again dedicates its mastery to the music of J.S. Bach. The quartet, which celebrated its 30th anniversary in 2007, presents the world-premiere recording of the four-part fugues from the famous Well-Tempered Clavier as arranged for string quartet. The Emerson Quartet's 2003 release of The Art of Fugue was a critical and commercial success selling 50,000 units worldwide. Repertoire from this world-premiere recording will be included in the Emerson Quartet's touring program.
CD Reviews
Very Nice Project
A Reader from | Atlanta GA | 04/04/2008
(4 out of 5 stars)
"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."
Catching
J. H. M. Remme | Leiden, The Netherlands | 07/16/2008
(5 out of 5 stars)
"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."
Emerson Quartet plays Bach Fugues
David G. Covell | Altadena, CA United States | 05/25/2008
(5 out of 5 stars)
"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."
Buy this disk, but...
Music Fan | 11/19/2009
(4 out of 5 stars)
"J.S. Bach is, hands down, my all-time favorite composer. The Well-Tempered Clavier is one of my favorite works by Bach. (I have 5 different versions on piano.) The Emerson Quartet are excellent artists. But, as much as this disk belongs in the collection of every Bach lover, I can't give this recording five stars.
At first glance, this project has everything to recommend it. A fugue is a compositional technique that involves the introduction of a melody, and the repetition of the melody in a different 'voice' (say in the bass, rather than in the alto). When this melody, called 'the subject,' recurs it is accompanied by another distinct melody (the 'countersubject'). This process plays out until you have as many anywhere from 2 to 6 to 8, or whatever, distinct melodies playing at the same time. Now, Bach wrote these fugues for a keyboard (clavier). As a listener, it is very difficult, if not impossible, to follow all of the melodies (voices) at the same time in a keyboard performance since the separate voices of melody 'present' as harmony, that is, as the vertical organization of notes. That was Bach's point after all, that superimposed melodies can created harmony and harmonic movement (tension and resolution). So a string quartet performance has the huge advantage of giving each voice (of a 4 voice fugue) to a separate instrument and performer. This performer can shape the melody and alter its dynamics throughout the phrase in a way which not only fits in with the other players but which can be appreciated for itself. In short, you can follow every voice and thereby begin to appreciate Bach's fugues in the way that can otherwise come only through playing these pieces yourself. Thank you Emerson Quartet!
The problem is that as interpretations, these performances are decidedly middle of the road. Everything is smooth and the ensemble is fine, but the Emersons' performances are never gripping or challenging in the manner of a Glenn Gould, or even an Andras Schiff. If these performances were on the piano, I could not recommend them at all. But, I hope other ensembles will pick up the gauntlet that the Emersons have thrown down. EVERY string quartet should record Bach fugues. And there is a whole universe of interpretation that the Emersons unfortunately have only hinted at here.
One final note. I played this disk for a musician friend of mine who immediately pointed out the following irony: This recording of fugues from the Well-Tempered Clavier is not played in 'equal temperament.' Recall that the WTC was written to demonstrate the compositional possibilities of 'equal temperament' keyboard tuning. But string players have no need for the approximations of 'equal temperament,' as a result all the chords sound noticeably sweeter here than in keyboard performances. Also, the Emersons have transposed some fugues from their original key signature (F sharp minor, for instance) to others that are more accessible for string players. This is a practice that Bach himself would have approved of. But the sneaky Emersons don't mention which key they have transposed into. The probably kept the keys to a minimum to make things easier, but they wouldn't want to advertise that fact!
Track Listings (21) - Disc #1