VVCD - 00088
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VVCD-00088
ADD 73 .51

The Legacy
of Maria Yudina
Vol 12
Johann Sebastian Bach
6 Preludes and Fugues (Well-Tempered Clavier, book 1)
1 Prelude A-Dur BWV-864 1.14
2 Fugue A-Dur BWV-864 2.21
3 Prelude a-moll BWV-865 0.59
4 Fugue a-moll BWV-865 4.12
5 Prelude B-Dur BWV-866 1.19
6 Fugue B-Dur BWV-866 1.43
7 Prelude b-moll BWV-867 3.07
8 Fugue b-moll BWV-867 3.32
9 Prelude H-Dur BWV-868 0.55
10 Fugue H-Dur BWV-868 1.42
11 Prelude h-moll BWV-869 3.48
12 Fugue h-moll BWV-869 8.39
Chromatic Fantasy and fugue d-moll
13 Chromatic Fantasy BWV-903 6.44
14 Fugue BWV-903 4.21
15 Bach-Liszt. Prelude a-moll (originally for the organ) BWV-543
3.25
16 Bach-Liszt. Fugue a-moll (originally for the organ) BWV-543 6.22
Bach. Sonata for violin and clavier No3 E-Dur BWV-1016
17 Adagio 5.45
18 Allegro 2.36
19 Adagio 7.39
20 Allegro 3.16
Total time: 73.51
Marina Kozolupova, violin (16-19)
Recorded: 1948 (13); 1950 (14-19); 1951-1955 (1-12)
Restoration: Vista Vera, 2005.
Bach's recordings
appear particularly unique. Preludes and fugues are performed in
a very strict manner, almost with puritanical asceticism, in most
cases in the same dynamics as from beginning to the end, always
with utterly iron rhythm. Yet there's a phenomenal running of all
parts and a crystal clear articulation. The pianist manifests a
full liberty in expressiveness, reveals a true nature of each prelude
and fugue, presents each theme with utter clarity and without universally
used emphasizing. Some kind of very peculiar touch keeps long notes
audible, without special accent on them!
The transformation of the sound from a harpsichord-like in preludes
and fugues of Well-Tempered Clavier to organ-like in Bach-Listz
fugue in A minor is unbelievably beautiful. The sound of the first
bass in the prelude just amazes. One can not understand where it
comes from but taken in mezzo forte it sounds like a thunderous
voice of God! One can hear all the timbers of the organ here, from
the sonorous high spots to the deep heavy pedal ones and then, in
the conclusion of the fugue, comes the might of all organ-pipes
and doublings. Yudina's performing is congenial to the Bach's music.
Bach Chromatic Fantasy and fugue is another masterpiece of Yudina's
performance. The articulation is a harpsichord-like but a powerful
sounding is close to organ. The imperious rigorous passages open
the Fantasy. The improvising elaboration in the Prelude develops
into dramatic mournful recitatives interrupted by powerful chords
that do not accept objections. A heavy step of the chromatic theme
of the fugue (Carrying the cross to Calvary?) reaches its whole
might and power in culmination in doubled basses and chords.
Listening now
her invaluable interpretations one feels a very special delight
that can not be compared to anything even if these recordings were
made in different conditions, not always technically perfect and
above all we are deprived now of visual almost hypnotic exposure
of Yudina at the piano.
What makes Yudina a legendary
pianist is, first of all, the profundity, the scale, and originality
of her interpretations. It's also sometimes unusual, uncommon tempos,
pauses, rubatos, slowing down tempos, sudden fermatas; sharp endings
that she does not soften. Then it's the tendency to make prophetical
pronouncements in performing the music. It's also phenomenal mastery
of technique that she refuses to compromise; the masterly command
of the sound, from deep hardly audible pianissimo to powerful orchestral
fortissimo, and hundreds gradations of piano and forte, always conveying
a meaning. Her observation of phrasing is always very accurate,
distinct, and expressive. (She often demanded from her pupils: "Observe
phrasing!") What a truly divine festival of heart and aesthetic
pleasure!
Professor Victor Derevianko
Head of Instrumental studies department
The Buchmann-Mehta School of Music
Tel-Aviv University
A student and friend of Maria Yudina
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