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Art of the Fugue Import
|1. Contrapunctus 1|
|2. Contrapunctus 2|
|3. Contrapunctus 3|
|4. Contrapunctus 4|
|5. Contrapunctus 5|
|6. Contrapunctus 6|
|7. Contrapunctus 7|
|8. Contrapunctus 8|
|9. Contrapunctus 9|
|10. Contrapunctus 10|
|11. Contrapunctus 11|
|12. Contrapunctus 12 (Canon)|
|13. Contrapunctus 13 (Canon)|
|14. Contrapunctus 14 (Canon)|
|15. Contrapunctus 15 (Canon)|
|16. Contrapunctus 16 (double fugue)|
|17. Contrapunctus 17 (dbl.Fugue, two-pianos)|
|18. Contrapunctus 18 (dbl.Fugue, two-pianos)|
|19. Contrapunctus 19 (unfinished)|
From the Artist
After twenty years of concerts and recordings I was diagnosed with Carpal Tunnel Syndrome and arthritis in my right hand. With the help of the Yamaha Corporation, I developed a recording technique which replaces my fingers with a computer mouse and allows me to record with my left hand alone on an acoustic concert grand piano. The technique, called "Musical Sculpting", has the extra benefit for the listener of creating unparalleled clarity and the ability to hear complex music in a completely fresh way. The Art of the Fugue consists of 22 fugues (Contrapucti) built on a single theme. A fugue is a musical form in which several voices move independently of each other while maintaining a harmonious co-existence.
Most Helpful Customer Reviews on Amazon.com (beta)
And just a couple of minor weaknesses I have found. First: how the playing can be muddled, rushed and (clumsily) uneven in places (I am thinking of Contrapunctus 1, which never really seems to get off the ground) represents for me an intellectual challenge: doesn't this revolutionary recording technique enable the separate treatment of each voice?
Second: as one reviewer notices, the rendition is a little on the romantic side, although not consistently so.
But these are indeed trifles. Overall, this cd is a remarkable achievement. Yet, it is enough to listen to Gould's late (piano) recording of Contrapunctus 1 vis a vis Taussig's to grasp the difference between the superhuman and the merely human. The comparison stirs up old, still anxious questions: why is it so arduous to even come close to Glenn Gould's sound? What was his secret? Why did he die without recording the entire Art of Fugue on his piano? Why did he die at all?
These are devastating questions, which can only be reiterated. Questions that Taussig, through his frank, even passionate Art of Fugue, seems to be rephrasing in dignified, wistful ways.
Interpretation of the great "Art of the Fugue" here is sometimes poetic; the sound is nice, not excellent, and often the Author falls into something ridicolous, such as too much staccato at the end of Contrapuncto I after a lot of well balanced phrasings; or when he marks each theme with a lot of flourishes which have no sense in piano music, above all in the Disklavier music, etc.
But the biggest mistake is to compare these "performances" with the Glenn Gould ones (see from the web). Also these are too metrical, too sequenced, too false. Sorry; and Gould was not a machine as the Author thinks.