
Daniel Martyn Lewis - BACH WELL-TEMPERED CLAVIER II
- 01 – No. 1 in C Major BWV 870-I. Prelude
- 02 – No. 1 in C Major BWV 870-II. Fugue
- 03 – No. 2 in C Minor BWV 871-I. Prelude
- 04 – No. 2 in C Minor BWV 871-II. Fugue
- 05 – No. 3 in C-sharp Major BWV 872-I. Prelude
- 06 – No. 3 in C-sharp Major BWV 872-II. Fugue
- 07 – No. 4 in C-sharp Minor BWV 873-I. Prelude
- 08 – No. 4 in C-sharp Minor BWV 873-II. Fugue
- 09 – No. 5 in D Major BWV 874-I. Prelude
- 10 – No. 5 in D Major BWV 874-II. Fugue
- 11 – No. 6 in D Minor BWV 875-I. Prelude
- 12 – No. 6 in D Minor BWV 875-II. Fugue
- 13 – No. 7 In E-flat Major BWV 876-I. Prelude
- 14 – No. 7 In E-flat Major BWV 876-II. Fugue
- 15 – No. 8 in E-flat Minor BWV 877-I. Prelude
- 16 – No. 8 in E-flat Minor BWV 877-II. Fugue
- 17 – No. 9 in E Major BWV 878-I. Prelude
- 18 – No. 9 in E Major BWV 878-II. Fugue
- 19 – No. 10 in E Minor BWV 879-I. Prelude
- 20 – No. 10 in E Minor BWV 879-II. Fugue
- 21 – No. 11 in F Major BWV 880-I. Prelude
- 22 – No. 11 in F Major BWV 880-II. Fugue
- 23 – No. 12 in F Minor BWV 881-I. Prelude
- 24 – No. 12 in F Minor BWV 881-II. Fugue
Disc 2 - 01 – No. 13 in F-sharp Major BWV 882-I. Prelude
- 02 – No. 13 in F-sharp Major BWV 882-II. Fugue
- 03 – No. 14 in F-sharp Minor BWV 883-I. Prelude
- 04 – No. 14 in F-sharp Minor BWV 883-II. Fugue
- 05 – No. 15 in G Major BWV 884-I. Prelude
- 06 – No. 15 in G Major BWV 884-II. Fugue
- 07 – No. 16 in G Minor BWV 885-I. Prelude
- 08 – No. 16 in G Minor BWV 885-II. Fugue
- 09 – No. 17 in A-flat Major BWV 886-I. Prelude
- 10 – No. 17 in A-flat Major BWV 886-II. Fugue
- 11 – No. 18 in G-sharp Minor BWV 887-I. Prelude
- 12 – No. 18 in G-sharp Minor BWV 887-II. Fugue
- 13 – No. 19 in A Major BWV 888-I. Prelude
- 14 – No. 19 in A Major BWV 888-II. Fugue
- 15 – No. 20 in A Minor BWV 889-I. Prelude
- 16 – No. 20 in A Minor BWV 889-II. Fugue
- 17 – No. 21 in B-flat Major BWV 890-I. Prelude
- 18 – No. 21 in B-flat Major BWV 890-II. Fugue
- 19 – No. 22 in B-flat Minor BWV 891-I. Prelude
- 20 – No. 22 in B-flat Minor BWV 891-II. Fugue
- 21 – No. 23 in B Major BWV 892-I. Prelude
- 22 – No. 23 in B Major BWV 892-II. Fugue
- 23 – No. 24 in B Minor BWV 893-I. Prelude
- 24 – No. 24 in B Minor BWV 893-II. Fugue
DANIEL MARTYN LEWIS – BACH WELL-TEMPERED CLAVIER II
The music of J.S. Bach is a rare combination of profoundly human expression and fiercely intellectual power, with the ability to move and fascinate listeners in equal measure. The Well-Tempered Clavier consists of two monumental volumes, spanning every key available, anditis the second of these two volumes which hasbeen recorded for Daniel Martyn Lewis’s Odradek debut, The Well-Tempered Clavier II.
Daniel Martyn Lewis has chosen to perform these exquisitely crafted works on the piano rather than on the harpsichord, and through the sonorities of the piano hepresents this music in fresh guises, shedding new light on Bach’s extraordinary work.
The enduring appeal of Bach lies partly in the fact that fresh interpretations of his music are always possible. The Well-Tempered Clavier IIis so intricate, so finely honed, yet not prescriptive in its nuances, enabling each interpretation to bring something different to the listener, who in turn will experience the music in a unique way. For Daniel Martyn Lewis, Bach’s music is the epitome of beauty and joy, andhecommunicates that sense of joy in radiant performances throughout this disc.
As a pianist, Daniel Martyn Lewis immersed himself in music of many eras before feeling compelled to return to his first love, Bach, and focus the greater part of his attention on interpreting that master’s music. This CD represents the fruits of that dedication to Bach’s output.
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Booklet in English, German and French.
Program notes by Yo Tomita.
Reviews
“My recording of Bach’s Well-Tempered Clavier II has just been released, and I am thankful for the sense of expressive freedom I felt during the sessions, not hindered by the quest for absolute precision. When listening to the playback, I was very pleased that the more unusual interpretive concepts were captured… the A minor Prelude for example. I also love the recorded sound and worked closely with the engineer until we found the warmth and transparency I had imagined was possible.”
Meet the Artist - Cross-Eyed Pianist