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