Pierre-Laurent Aimard has been responsible for a handful of the more extraordinary solo-piano recordings of the past two decades, although the pieces with which he has enjoyed his greatest success – Messiaen’s Vingt Régards, Ligeti’s Études – have been firmly situated at the contemporary end of the repertoire. In recent years, however, Mr. Aimard has turned his attention to the contrapuntal works of Bach; after a thoughtful, often absorbing Art of Fugue a few years back, he has taken the next logical step and tackled the first volume of the Well-Tempered Clavier. In addition to a new recording for Deutsche Grammophon, he has taken the first 24 of the ‘48’ on the road for a series of recitals, including a stop at the Kammermusiksaal as part of Berlin’s Musikfest; and while Mr Aimard’s vision of Bach’s masterpiece was no more definitive…
Comentarios