Piano Interpretation series - Bach interpreted by Edwin Fischer and Sviatoslav Richter

A comparison of Bach's Prelude and Fugue No.6 BWV 851 as played by Edwin Fischer and Sviatoslav Richter.
Link to E. Fischer: • BWV851 WTC 1-06 Prelud...
Link to S. Richter: • Prelude and Fugue: No....
My Bach CD: www.amazon.fr/...
edna-stern.com/...
If you are interested in private lessons on zoom, you can contact me through my website www.ednastern.com or through the Royal College of Music of London.

[@Daniel_Zalman]

I don't find violence in Richter's interpretation, but a feeling of emotional turmoil and desperation. It is aided by Richter's miraculous sense of rhythmic pulse. Listen to how he plays the section of the prelude at 0:45, it always breaks my heart. In Fischer's interpretation, the motivic urgency is not as pronounced. This is just my interpretation of their interpretations...of course. Your interpretation of 851 on your recording of selections from Bach Preludes and Fugues & Chorals is marvelous and unique; very interesting transition to the section I mentioned above. Also, your Schumann recording is truly memorable. I've finally found an interpretation of Etude XI from the Symphonic Etudes that matches the one by Pogorelich in spiritual weight, but that is completely unique and personal. Thank you for your commitment to your craft and to music! I'm grateful. Sending love from NYC!

[@ednastern3542]

Interesting description, I also love Richter’s interpretation in this and pretty much in everything else. Thanks for your comments on my CD’s, it is nice to read:-)

[@markkuss7816]

Hello Edna,
Very interesting presentation. Thank-you!
I love Fischer’s playing very much for the shaping impulses you illustrate in this video. The slower tempo allows for a more Romantic approach to the harmonic surfaces. And your illustrations made this very clear.
I know the recording of Richter’s WTC. There is much in it I truly appreciate.
Another treatment of the prelude I appreciate-which is in the Richter vein-is Glenn Gould’s interpretation. His ear is astonishing for revealing structure as it relates to shifting harmonic rhythm-especially in this piece.
Best,
-Mark

[@ednastern3542]

thanks

[@VladVexler]

This is a brilliant format!

[@ednastern3542]

Thanks Vlad!

[@kristianhansen6013]

Lovely as usual

[@ednastern3542]

Thanks again!

[@jessieaouizerate6300]

Beautiful like usual…!
I enjoyed and begun to understand the differences between the two.. really amazing how you succeed to give to each note of each hand its own weight..

[@ednastern3542]

Thank you! Cheers!

[@elishevaginzburg2429]

Very interesting comparisons in Bach interpretations. Very well expressed and illustrated I enjoyed this video very much.

[@ednastern3542]

Glad you enjoyed it!

[@silsmariaemerson8667]

Bach was no Romantic musician; he was an analytic composer - and that´s why he should be played WITHOUT PEDAL, as a harpsichordist does. Glenn Gould used to play Bach correctly, also Friedrich Gulda. Fischer sounds inappropriate for the Great Master Bach. But thank you Prof. Stern for talking about.

[@GiacomoPhilipp92]

Neuhaus wrote, using the pedal leads much closer to the 'silver tones' of the cembalo. 'Analytic' is definitely a wrong description, there didn't were any music without expression and also rubato - imagine what Bach would have done with the advantages of a modern piano.

[@silsmariaemerson8667]

@@GiacomoPhilipp92 Instead of Bach (we cannot ask him!) I let Gustav Leonhardt answer your "imagination": Mr. Leonhardt was asked, whether the idea of playing a Steinway would attract him. Here the verbatim answer of G. Leonhardt: "Absolutely not! What a dreadful thought! There is no way ... A grand piano is not a sensitive instrument in my eyes... The harpsichord is a sensitive object ... " etc. If you like the sustain-pedal with Bach - it is up to you. But for me it is horrible; it is good for Chopin or Liszt, but not for the great Master Bach. There is no use to blur a Bach fugue with the pedal. Thank you for your comment anyway.

[@GiacomoPhilipp92]

@@silsmariaemerson8667 Its nice, if you find your passion in listening Bach with historical instruments. But there is down to the nineteenth century a tradition to play Bach on (more or less) modern keyboard instruments. I dont agree that a Steinway isnt a sensitive instrument, there is no evidence for this statement (nor did Leonhardt made it explicit what he is pointing at), but there are thousand recordings showing what a grand piano is capable of (from pppp to ffff in all tempi).

[@jessieaouizerate6300]

May we have the links of the 2 ?

[@ednastern3542]

Hello Jessie, thanks! The second link of the S.Richter version is just underneath the first one.