BACH Complete WTC I Prelude & Fugue 14 in F-sharp minor, BWV 859 Daniel Martyn Lewis

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BACH
Complete Well Tempered Clavier Book One
Daniel Martyn Lewis, piano

Prelude and Fugue no 14 in F-sharp minor BWV 859
We now enter a darker world, and specifically with the rare and melancholic key of F-sharp minor. In the fiery Prelude, the expressions of violence are palpable, with propulsive rhythms, abrupt chords and even a possible evocation of scourging. St Matthew Passion comes to mind.
The broken, hesitating melody of the Fugue subject seem well suited to fit the words of Christ on the cross, 'Eli, Eli, lama sabachthani' ("My God, my God, why hast Thou forsaken me?') The sighing countersubject motif pervading the entire piece also adds a profound melancholy The anguish continues unabated and then with the final chord.... peace.


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DANIEL MARTYN LEWIS, pianist

‘Daniel Martyn Lewis [Bach Network Dialogue Meetings, Cambridge UK] displayed how academic research can directly inform performance.’
Early Music

‘Lewis reveals and revels in the details of this music, with a clear sense of the contrapuntal textures...he displays a real appreciation of the emotional impact of the music......there is much to enjoy in this recording, with an impressive variety of mood, style and drama throughout the individual pieces, providing an album rich in contrasts and eloquence of expression, which fully demonstrates the genius and joyfulness of Bach’s writing and Lewis’s obvious deep affection for this music.’
Interlude

‘…he riveted the attention with his ability to project the individual lines with crystalline clarity… beautifully sculpted and delicately shaded… his rapid finger work was to marvel at, as was his solemn concentration in the g minor Adagio… an impressive and engaging program, one to which the audience responded warmly. ’
Classics Today, New York

‘…a truly fine musician… it took barely more than one or two acutely-drawn phrases to make it very clear that Mr. Lewis is precisely that sort of an artist… He plays Bach with obvious love and understanding… dexterity and crystalline lucidity… what a pleasure to hear such naturalness; and so little self-aggrandizing affectation! Also such a fine grasp of harmonic tension and linear movement…. [he] kept the spiritual message afloat and, when needed, airborne. ’
New York Concert Review

‘ …his affinity with Bach was obvious… Lewis’s grasp of the contrapuntal complexities was evident. He set out the musical ideas with clarity, tracing lines and colouring voices thoughtfully and deliberately, building a solid architectural structure while articulating intricacies of chromatic harmony and rhythm.’
The Guardian London

‘... a truly impressive display of his evident talent.’ The Western Mail Cardiff

‘…richly satisfying… balance of powerful control and interpretive sensibilities… a wonderful clarity both of the harmonic sonorities and of the voice leading… a fearless artist.’ Musical Opinion UK

‘Wonderful! ...gorgeous singing quality and emotional connection... the sense of order, the purity, the lack of artifice, yet with plenty of grace, fluidity, style and taste... Daniel played a magnificent performance of Bach’s Well-Tempered Clavier, Book One. ’
Jed Distler, music critic, composer, pianist. New York

‘...such consistently high quality of execution, such refinement of taste, and such strong idiomatic grasp of voicing, ornamentation and Affekt...’ David Fanning, music critic, Manchester

‘...focus, clarity and spell binding presence.’ Ruth Tatlow, Bach Scholar, author

‘...incredible clarity... extraordinary in terms of both its aesthetic appeal and scholarly significance... by carefully blending the ideas and performance techniques of both the harpsichord and modern piano, Lewis artfully speaks Bach’s language with fluidity and conviction... the sound of the modern piano allows him to construct Bach’s powerful musical drama which he manages to unfold magnificently.’
Yo Tomita, Bach Scholar, author