Bach: The Well-Tempered Clavier I Pierre-Laurent Aimard

• 1 Prelude 02:18
• 2 Fugue 02:10
• 3 Prelude 01:30
• 4 Fugue 01:46
• 5 Prelude 01:18
• 6 Fugue 02:31
• 7 Prelude 03:12
• 8 Fugue 03:51
• 9 Prelude 01:12
• 10 Fugue 01:53
• 11 Prelude 01:30
• 12 Fugue 02:05
• 13 Prelude 03:24
• 14 Fugue 01:51
• 15 Prelude 03:53
• 16 Fugue 05:37
• 17 Prelude 01:19
• 18 Fugue 01:08
• 19 Prelude 02:29
• 20 Fugue 01:34
• 21 Prelude 01:04
• 22 Fugue 01:08
• 23 Prelude 02:16
• 24 Fugue 04:22
• 25 Prelude 01:34
• 26 Fugue 01:51
• 27 Prelude 01:17
• 28 Fugue 03:43
• 29 Prelude 00:54
• 30 Fugue 02:32
• 31 Prelude 02:13
• 32 Fugue 01:42
• 33 Prelude 01:11
• 34 Fugue 01:59
• 35 Prelude 01:18
• 36 Fugue 02:35
• 37 Prelude 01:15
• 38 Fugue 02:05
• 39 Prelude 01:03
• 40 Fugue 05:10
• 41 Prelude 01:22
• 42 Fugue 01:31
• 43 Prelude 02:21
• 44 Fugue 03:30
• 45 Prelude 01:11
• 46 Fugue 02:08
• 47 Prelude 05:51
• 48 Fugue 06:59
• Total Runtime 01:52:36

Info for Bach: The Well-Tempered Clavier I

Pierre-Laurent Aimard again conquers the iconic keyboard repertoire by Johann Sebastian Bach after his hugely successful The Art of Fugue recording 2008. After The Art of Fugue which sold more than 60k worldwide this is another milestone in Aimard’s DG discography.

This double album includes the entire The Well-Tempered Clavier Book 1 and it will certainly be welcomed by his large number of fans and reviewers.

„Aimard has clearly thought deeply about the collection’s kaleidoscopic structure, but parts of its kaleidoscope suit him better than others. Playing of dancing glee or delicate sentiment continually rubs against patches unduly dry and detached. The F sharp minor fugue is a mysterious wonder, as if the music were feeling its way in the dark; the G major prelude sparkles with gaiety.“ (Geoff Brown, The Times London)

„Clarity of texture and of part-playing are the virtues which predominate, plus a cool atmosphere. Whether or not we think of these as characteristically French, they do bring rewards in Bach, of course; and yet the impression Aimard conveys is of Book 1 as a monument, even a scholastic tract.“ (Stephen Plaistow, Gramophone)

„His Bach is resolutely head-driven - and it's curious. His preeminently ascetic use of the sustaining pedal creates clarity tinged with dryness, yet he's prone to Romantically portentous rallentandos.” (BBC Music Magazine)

Pierre-Laurent Aimard, piano

Pierre-Laurent Aimard
Widely acclaimed as a key figure in the music of our time and as a uniquely significant interpreter of piano repertoire from every age, Pierre-Laurent Aimard enjoys an internationally celebrated career.

Each season he performs worldwide with major orchestras under conductors such as Riccardo Chailly, Vladimir Jurowski, Peter Eötvös, Sir Simon Rattle and Esa-Pekka Salonen. He has created, directed and performed in a number of residencies, including projects at Carnegie Hall, New York's Lincoln Center, Berlin's Philharmonie, Cité de la Musique in Paris, Tanglewood Festival and London's Southbank Centre. Currently Aimard is Artistic Director of the Aldeburgh Festival where he has impressed audiences and critics alike with his innovative programming.

Current and future highlights include solo recitals in London, New York, Chicago, Paris, Tokyo, Vienna, Beijing and Amsterdam. Concerto appearances include performances with the Boston Symphony Orchestra, London Philharmonic Orchestra and Deutsches Symphonie-Orchester Berlin and Chamber Orchestra of Europe. In autumn 2014 he joins the Symphonieorchester des Bayerischen Rundfunks to give the world premiere of a Piano Concerto by Sir Harrison Birtwistle, with further performances in Porto, London and Boston. In spring 2015 he undertakes a recital tour with Tamara Stefanovich, playing all of Pierre Boulez’s completed works for piano in celebration of the composer’s 90th birthday.

Aimard has had close collaborations with many leading composers including Kurtág, Stockhausen, Carter, Boulez and Benjamin and had a long association with György Ligeti, recording his complete works for piano. Most recently he performed Elliott Carter’s last piece: Epigrams for piano, cello and violin, which was written for him.

Through professorships at the Hochschule Köln and Conservatoire de Paris, as well as concert-lectures and workshops worldwide, he sheds an inspiring and very personal light on music of all periods. In 2005 he was the recipient of the Royal Philharmonic Society’s Instrumentalist Award and was named “Instrumentalist of the Year” by Musical America in 2007. In 2015 he launches a major online resource in collaboration with Klavier-Festival Ruhr and Vincent Meyer, centred on the performance and teaching of Ligeti’s piano music featuring masterclasses and performances of the Etudes and other works.

Aimard now records exclusively for Deutsche Grammophon. His first DG release, Bach's Art of Fugue, received both the Diapason d'Or and Choc du Monde de la Musique awards, debuted at No.1 on Billboard's classical chart and topped iTunes’ classical album download chart. In recent years Aimard’s recordings have been honoured with many prestigious awards . A new recording of Bach’s Wohl Tempered Klavier Book 1was released in summer 2014.

Born in Lyon in 1957, Pierre-Laurent Aimard studied at the Paris Conservatoire with Yvonne Loriod and in London with Maria Curcio. He was appointed Ensemble intercontemporain's first solo pianist by Pierre Boulez.

Booklet for Bach: The Well-Tempered Clavier I