J. S. Bach: Das wohltemperierte Klavier, Buch I Cédric Pescia

• Johann Sebastian Bach (1685 - 1750): Das wohltemperierte Klavier, Buch I:
• 1Das wohltemperierte Klavier, Buch I: Präludium Nr. I C-Dur, BWV 84601:51
• 2Das wohltemperierte Klavier, Buch I: Fuge Nr. I C-Dur, BWV 84602:11
• 3Das wohltemperierte Klavier, Buch I: Präludium Nr. II C-Moll, BWV 84701:26
• 4Das wohltemperierte Klavier, Buch I: Fuge Nr. II C-Moll, BWV 84701:38
• 5Das wohltemperierte Klavier, Buch I: Präludium Nr. III Cis-Dur, BWV 84801:06
• 6Das wohltemperierte Klavier, Buch I: Fuge Nr. III Cis-Dur, BWV 84802:12
• 7Das wohltemperierte Klavier, Buch I: Präludium Nr. IV Cis-Moll, BWV 84903:08
• 8Das wohltemperierte Klavier, Buch I: Fuge Nr. IV Cis-Moll, BWV 84904:29
• 9Das wohltemperierte Klavier, Buch I: Präludium Nr. V D-Dur, BWV 85002:22
• 10Das wohltemperierte Klavier, Buch I: Fuge Nr. V D-Dur, BWV 85002:05
• 11Das wohltemperierte Klavier, Buch I: Präludium Nr. VI D-Moll, BWV 85101:23
• 12Das wohltemperierte Klavier, Buch I: Fuge Nr. VI D-Moll, BWV 85102:16
• 13Das wohltemperierte Klavier, Buch I: Präludium Nr. VII Es-Dur, BWV 85203:28
• 14Das wohltemperierte Klavier, Buch I: Fuge Nr. Es-Dur VII, BWV 85201:34
• 15Das wohltemperierte Klavier, Buch I: Präludium Nr. VIII Es-Moll, BWV 85303:15
• 16Das wohltemperierte Klavier, Buch I: Fuge Nr. VIII Dis-Moll, BWV 85306:04
• 17Das wohltemperierte Klavier, Buch I: Präludium Nr. IX E-Dur, BWV 85401:25
• 18Das wohltemperierte Klavier, Buch I: Fuge Nr. IX E-Dur, BWV 85401:11
• 19Das wohltemperierte Klavier, Buch I: Präludium Nr. X E-Moll, BWV 85502:21
• 20Das wohltemperierte Klavier, Buch I: Fuge Nr. X E-Moll, BWV 85501:04
• 21Das wohltemperierte Klavier, Buch I: Präludium Nr. XI F-Dur, BWV 85600:54
• 22Das wohltemperierte Klavier, Buch I: Fuge Nr. XI F-Dur, BWV 85601:14
• 23Das wohltemperierte Klavier, Buch I: Präludium Nr. XII F-Moll, BWV 85702:14
• 24Das wohltemperierte Klavier, Buch I: Fuge Nr. XII F-Moll, BWV 85705:24
• 25Das wohltemperierte Klavier, Buch I: Präludium Nr. XIII Fis-Dur, BWV 85801:20
• 26Das wohltemperierte Klavier, Buch I: Fuge Nr. XIII Fis-Dur, BWV 85801:40
• 27Das wohltemperierte Klavier, Buch I: Präludium Nr. XIV S-Moll, BWV 85901:01
• 28Das wohltemperierte Klavier, Buch I: Fuge Nr. XIV S-Moll, BWV 85903:13
• 29Das wohltemperierte Klavier, Buch I: Präludium Nr. XV G-Dur, BWV 86000:54
• 30Das wohltemperierte Klavier, Buch I: Fuge Nr. XV G-Dur, BWV 86002:47
• 31Das wohltemperierte Klavier, Buch I: Präludium Nr. XVI G-Moll, BWV 86102:07
• 32Das wohltemperierte Klavier, Buch I: Fuge Nr. XVI G-Moll, BWV 86102:14
• 33Das wohltemperierte Klavier, Buch I: Präludium Nr. XVII As-Dur, BWV 86201:17
• 34Das wohltemperierte Klavier, Buch I: Fuge Nr. XVII As-Dur, BWV 862203:02
• 35Das wohltemperierte Klavier, Buch I: Präludium Nr. XVIII Gis-Moll, BWV 86302:03
• 36Das wohltemperierte Klavier, Buch I: Fuge Nr. XVIII Gis-Moll, BWV 86303:39
• 37Das wohltemperierte Klavier, Buch I: Präludium Nr. XIX A-Dur, BWV 86401:17
• 38Das wohltemperierte Klavier, Buch I: Fuge Nr. XIX A-Dur, BWV 86402:10
• 39Das wohltemperierte Klavier, Buch I: Präludium Nr. XX A-Moll, BWV 86500:55
• 40Das wohltemperierte Klavier, Buch I: Fuge Nr. XX A-Moll, BWV 86504:30
• 41Das wohltemperierte Klavier, Buch I: Präludium Nr. XXI B-Dur, BWV 86601:14
• 42Das wohltemperierte Klavier, Buch I: Fuge Nr. XXI B-Dur, BWV 86601:34
• 43Das wohltemperierte Klavier, Buch I: Präludium Nr. XXII B-Moll, BWV 86702:55
• 44Das wohltemperierte Klavier, Buch I: Fuge Nr. XXII B-Moll, BWV 86703:30
• 45Das wohltemperierte Klavier, Buch I: Präludium Nr. XXIII H-Dur, BWV 86800:58
• 46Das wohltemperierte Klavier, Buch I: Fuge Nr. XXIII H-Dur, BWV 86802:38
• 47Das wohltemperierte Klavier, Buch I: Präludium Nr. XXIV H-Moll, BWV 86906:34
• 48Das wohltemperierte Klavier, Buch I: Fuge Nr. XXIV H-Moll, BWV 86907:04
• Total Runtime01:56:51

Info zu J. S. Bach: Das wohltemperierte Klavier, Buch I

Robert Schumann, who revered Johann Sebastian Bach, recommended that young pianists should make the two books of ‘The Well-Tempered Clavier’ their ‘daily bread’. The collection is indeed familiar to many from an early age but most performers (pianists, harpsichordists and even organists) only give it in concert and record it after ‘moulding’ that bread every day in the secrecy of their practice rooms.

Musicians tackle ‘The Well-Tempered Clavier’ in the same way as actors play Shakespeare’s ‘Lear’ or singers perform Schubert’s ‘Winterreise’, once they have reached the appropriate age. The cycle is testing for the fingers but perhaps even more so for the brain: these stylistically differentiated preludes and complex fugues must be given an overall coherence that does not diminish the singularity of their parts. Each component of ‘The Well-Tempered Clavier’ can be one thing and its opposite.

This is precisely what the forty-two-year-old Swiss pianist Cédric Pescia demonstrates by setting out in a few moments an ‘acoustic theatre’. The sound is a beautifully lustrous bronze, profound, conducive to minute gradations of density, texture and articulation and the pedalling is subtle. The long fugues find in this noble but never haughty playing one of their most beautiful incarnations on the disc: the final fugue of the First Book, in the same tormented B minor as the ‘Kyrie’ of Bach’s great Mass, shows this with the blinding evidence that can be achieved only by the great artists.

Cédric Pescia, piano

Cédric Pescia
pianist of dual French and Swiss nationality, was born in Lausanne. He studied with Christian Favre at the Conservatoire de Musique in Lausanne, later with Dominique Merlet at the Conservatoire de Musique in Geneva where he earned a Premier Prix de Virtuosité with honors and completed his studies with Klaus Hellwig at the Universität der Künste in Berlin.

In addition he has studied with Pierre-Laurent Aimard, Daniel Barenboim, Henri Barda, Dietrich Fischer-Dieskau, Ivan Klansky, Christian Zacharias, Ilan Gronich and with the Alban Berg Quartet. From 2003 until 2006 he was invited to attend the famous International Piano Academy, Lake Como (Italy) where he worked with Dimitri Bashkirov, Leon Fleisher, William Grant Naboré, Menahem Pressler, Andreas Staier and Fou Ts´ong.

Cédric Pescia was the brilliant First Prize Winner (Gold Medalist) at the 2002 Gina Bachauer International Artists Piano Competition in Salt Lake City (USA).

Concert tours have taken him throughout Europe, China, South America, North Africa and in the USA. He has performed at the Berlin Philharmonie, the Berlin Konzerthaus, the Hamburg Laieszhalle, the Mozarteum Salzburg, Carnegie Hall New York, Shanghai Oriental Arts Center, Wigmore Hall London, Tonhalle Zürich, Vienna Konzerthaus and has appeared in leading music festivals such as: Prague Spring Festival, Lucerne Festival, Menuhin Festival-Gstaad, Schleswig-Holstein Musik Festival, Sommets Musicaux de Gstaad, Davos Festival, Festival de Radio France et Montpellier, Les Muséiques Basel and Schubertiade Hohenems.

His orchestral appearances have been with the Orchestre de la Suisse Romande, the Orchestre de Chambre de Lausanne, the Orchestra Sinfonica di Milano Giuseppe Verdi, the Utah Symphony, the Festival Strings of Luzern, the Orchestra della Svizzera Italiana, the Ensemble Oriol Berlin, the Klassische Philharmonie Bonn, the Camerata Bern, the Basler Kammerorchester, the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, the Göttinger Symphonie Orchester and the Orchestre National de Lille.

In addition to his activities as a soloist, his love for chamber music regularly leads to performances with other eminent musicians. For many years Cédric Pescia has been working in close collaboration with violinist Nurit Stark.

He is founding member and artistic director of the Lausanne chamber music series Ensemble enScène.

In 2005 and 2007 he served as a jury member in the Clara Haskil Competition in Vevey.

He is giving master classes in the USA and in Europe, a.o. at the prestigious Accademia Pianistica Internazionale \"Incontri col Maestro\" in Imola, Italy.

In 2012 he was appointed professor for piano at the Haute Ecole de Musique de Genève.

In 2007, Cédric Pescia was honoured with the Prix Musique de la Fondation Vaudoise pour la culture. He was a also a prizewinner at the Bourse de la Fondation Leenaards in Lausanne. The duo Nurit Stark (violin) and Cédric Pescia is supported by the Forberg-Schneider Foundation.

For Claves Records, he has recorded Bach\'s Goldberg Variations, Schumann\'s complete works for piano solo (vol. 2 + vol. 5) and a CD of French music featuring Couperin, Messiaen and Debussy, F. Busoni\'s and G. Enescu\'s Violin and Piano Sonatas with Nurit Stark, as well as Beethoven\'s Piano sonatas op. 109, 110 and 111, six CDs which were unanimously acclaimed by the critics. His new recording John Cage : Sonatas and Interludes for prepared piano is released by Aeon.

Booklet für J. S. Bach: Das wohltemperierte Klavier, Buch I