{"product_id":"pakm097","title":"DEMUS Bach: The Well-Tempered Clavier, Book I (1955) - PAKM097","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eThe Well-Tempered Clavier, Book I, BWV 846-869\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eWestminster studio recording, Vienna, July 1955\u003cbr\u003eTotal duration: 2hr 00:32\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJörg Demus\u003c\/b\u003e, piano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM097.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eJörg Demus was only twenty-six when, in July 1955, he recorded both books of Bach’s \u003cem\u003eWell-Tempered Clavier\u003c\/em\u003e at the Mozart-Saal of the Vienna Konzerthaus for Westminster. The undertaking was substantial: forty-eight preludes and forty-eight fugues, recorded in mono during that month. Book I appeared as the two-LP Westminster WAL 221; the complete cycle was subsequently issued as the five-LP WN 5501. The original Book I album even included a miniature score.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe timing is significant. Demus was already an experienced international performer, but his First Prize at the Ferruccio Busoni Competition still lay a year ahead. Bach, however, was hardly new territory. Demus had begun studying the \u003cem\u003eWell-Tempered Clavier\u003c\/em\u003e while still a student in Vienna and had memorised both books by his late teens. At twenty-one he performed the complete cycle in four recitals at the Brahms-Saal in Vienna during the Bach bicentenary year of 1950. Before making the Westminster recording he had therefore spent years living with this music in both study and performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhat emerges from the recording is neither an attempt to make Bach monumental on the modern piano nor an imitation of the harpsichord. Demus uses the resources of the piano with unusual restraint. Pedalling is sparing, textures remain transparent and the contrapuntal voices retain their independence. Character comes principally through articulation, pacing, phrasing and the constantly changing relationships between those voices.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat approach divided opinion when the records were new. A brief contemporary \u003cem\u003eGramophone\u003c\/em\u003e notice described Book I as “conscientious” but “unexhilarating”. Nathan Broder, reviewing WAL 221 in \u003cem\u003eHigh Fidelity\u003c\/em\u003e in September 1955, heard performances that were “small-framed” and understated. Yet he praised the cleanliness of Demus’s playing, his control of finger weight and the separation of the voices even in dense textures, and described the recording itself as first-rate. His objection was not to Demus’s execution but to what he perceived as a lack of intensity and breadth.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTwo years later Broder remained unconvinced. Reviewing the complete WN 5501 cycle, he again praised playing that was “clean and beautifully controlled”, but thought it cool, insufficiently intense and too concerned with the surface of the music.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThose judgements are fascinating now because the qualities being criticised are substantially the same ones later listeners have come to value. Reviewing the Westminster Bach recordings in 2023, Jonathan Woolf praised Demus’s natural pacing, fluidity, clarity and avoidance of exaggeration, judging Book II, if anything, still finer than Book I. Rob Cowan, writing in \u003cem\u003eGramophone\u003c\/em\u003e that April, repeatedly encountered a sense of “interpretative rightness” in Demus’s Bach and wondered whether modern listeners might now be more receptive to his comparatively unforced manner.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe reversal says something about changing fashions in Bach performance, but it also illuminates Demus himself. His lifelong interest in historical keyboards never turned into dogma. He believed that the modern piano could legitimately bring Bach to life through dynamics, articulation and agogic freedom, provided that these means served rather than obscured the music.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDemus would return repeatedly to Bach and later remake the \u003cem\u003eWell-Tempered Clavier\u003c\/em\u003e. Yet this youthful Westminster cycle remains one of the foundations of his recorded legacy. Heard more than seventy years after it was made, its lack of display seems less an absence than a choice: a young pianist already thoroughly at home in the music, allowing one of the great monuments of the keyboard repertoire to stand without scaffolding.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e The Well-Tempered Clavier, Book I, BWV 846-869\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1 - Tracks 01-24\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (58:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Prelude in C major\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Fugue in C major\u003cspan style=\"font-size: 12px;\"\u003e (2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Prelude in C minor\u003cspan style=\"font-size: 12px;\"\u003e (1:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Fugue in C minor\u003cspan style=\"font-size: 12px;\"\u003e (1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Prelude in C sharp major\u003cspan style=\"font-size: 12px;\"\u003e (1:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e Fugue in C sharp major\u003cspan style=\"font-size: 12px;\"\u003e (2:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Prelude in C sharp minor\u003cspan style=\"font-size: 12px;\"\u003e (2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Fugue in C sharp minor\u003cspan style=\"font-size: 12px;\"\u003e (5:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Prelude in D major\u003cspan style=\"font-size: 12px;\"\u003e (1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Fugue in D major\u003cspan style=\"font-size: 12px;\"\u003e (1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Prelude in D minor\u003cspan style=\"font-size: 12px;\"\u003e (1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Fugue in D minor\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Prelude in E flat major\u003cspan style=\"font-size: 12px;\"\u003e (4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Fugue in E flat major\u003cspan style=\"font-size: 12px;\"\u003e (1:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Prelude in E flat minor\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Fugue in D sharp minor\u003cspan style=\"font-size: 12px;\"\u003e (5:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Prelude in E major\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Fugue in E major\u003cspan style=\"font-size: 12px;\"\u003e (1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Prelude in E minor\u003cspan style=\"font-size: 12px;\"\u003e (2:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Fugue in E minor\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Prelude in F major\u003cspan style=\"font-size: 12px;\"\u003e (1:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Fugue in F major\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e Prelude in F minor\u003cspan style=\"font-size: 12px;\"\u003e (1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e Fugue in F minor\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2 - Tracks 25-48\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (62:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e Prelude in F sharp major\u003cspan style=\"font-size: 12px;\"\u003e (1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e Fugue in F sharp major\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e Prelude in F sharp minor\u003cspan style=\"font-size: 12px;\"\u003e (1:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e Fugue in F sharp minor\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e Prelude in G major\u003cspan style=\"font-size: 12px;\"\u003e (0:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e Fugue in G major\u003cspan style=\"font-size: 12px;\"\u003e (2:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e Prelude in G minor\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e Fugue in G minor\u003cspan style=\"font-size: 12px;\"\u003e (2:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e Prelude in A flat major\u003cspan style=\"font-size: 12px;\"\u003e (1:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e Fugue in A flat major\u003cspan style=\"font-size: 12px;\"\u003e (2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e35.\u003c\/span\u003e Prelude in G sharp minor\u003cspan style=\"font-size: 12px;\"\u003e (1:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e36.\u003c\/span\u003e Fugue in G sharp minor\u003cspan style=\"font-size: 12px;\"\u003e (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e37.\u003c\/span\u003e Prelude in A major\u003cspan style=\"font-size: 12px;\"\u003e (1:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e38.\u003c\/span\u003e Fugue in A major\u003cspan style=\"font-size: 12px;\"\u003e (3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e39.\u003c\/span\u003e Prelude in A minor\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e40.\u003c\/span\u003e Fugue in A minor\u003cspan style=\"font-size: 12px;\"\u003e (5:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e41.\u003c\/span\u003e Prelude in B flat major\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e42.\u003c\/span\u003e Fugue in B flat major\u003cspan style=\"font-size: 12px;\"\u003e (1:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e43.\u003c\/span\u003e Prelude in B flat minor\u003cspan style=\"font-size: 12px;\"\u003e (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e44.\u003c\/span\u003e Fugue in B flat minor\u003cspan style=\"font-size: 12px;\"\u003e (3:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e45.\u003c\/span\u003e Prelude in B major\u003cspan style=\"font-size: 12px;\"\u003e (1:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e46.\u003c\/span\u003e Fugue in B major\u003cspan style=\"font-size: 12px;\"\u003e (2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e47.\u003c\/span\u003e Prelude in B minor\u003cspan style=\"font-size: 12px;\"\u003e (5:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e48.\u003c\/span\u003e Fugue in B minor\u003cspan style=\"font-size: 12px;\"\u003e (5:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJörg Demus\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded at the Mozart-Saal, Konzerthaus, Vienna\u003cbr\u003eJuly 1955 (mono)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eAmbient Stereo XR remastering by Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 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