Question about Aimard's interpretation of J.S. Bach's

[J.A.W.]

Has anybody heard Pierre-Laurent Aimard's interpretation of Johann Sebastian Bach's "Kunst der Fuge" ("The Art of Fugue"; BWV 1080) on DG?

I've read some rave reviews in the Dutch and U.K. press, and I was wondering what people here think

Edited December 2, 2008 by J.A.W.

[gnhrtg]

Has anybody heard Pierre-Laurent Aimard's interpretation of Johann Sebastian Bach's "Kunst der Fuge" ("The Art of Fugue"; BWV 1080) on DG?

I've read some rave reviews in the Dutch and U.K. press, and I was wondering what people here think

Bought it a few days ago, Hans. My parents are visiting but I should be able to find some time to listen to it within the next couple of days. I'll let you know.

[T.D.]

What do people generally think about Aimard in the "mainstream repertory?" I've heard a moderate amount of his recordings of contemporary music, and have high regard for his playing. But I haven't heard any of his recent mainstream efforts, because I didn't expect him to be as good with the "standard" material.

[J.A.W.]

I've listened to a few sound samples of his interpretation of "Kunst der Fuge" and wasn't impressed. Could be that my crappy computer speakers are to blame, but I found his playing a tad "cold", technically impeccable but lacking in inspiration/feeling - hard to describe what exactly is missing.

I'm looking forward to your opinion, Gökhan.

[gnhrtg]

I was never much impressed with his Beethoven concerto cycle (conducted by Harnoncourt) and nor by the two Mozart concertos that were broadcast, though I have not dumped the Beethoven set yet - will give it another couple of tries. Bach, of course, is neither Beethoven nor Mozart so I gave Aimard another chance in non-modern repertory (on the other hand I will pick up his Messiaen disc with much less hesitation). Hope to find the time tomorrow to listen to it - might not have that much to say after an initial spin during which I'll probably be doing a couple of things in addition to listening but you'll get an opinion nevertheless.

P.S. Lacking in inspiration (nothing wrong with it other than I don't feel like listening to his version rather than many others) is probably my problem with the Beethoven concertos, Hans.

[J.A.W.]

Maybe I'm really getting old, but a lack of inspiration or, as someone said to me a while ago, a certain indifference seems to be a problem with a lot of younger pianists these days, at least in the "iron repertory" as we say here (Beethoven, Mozart, etc.) Can't think of any names right now, but I've bought quite a few CDs by younger players and subsequently got rid of them because of it. They're often technically impeccable, but something seems to be missing from their playing.

Edited December 3, 2008 by J.A.W.

[Cowgirl100]

They go too much by the notes and not feeling the music!!!

[Guest youmustbe]

I like the Messiaen cd. Heard Aimard do 2 of the 'bird' pieces a couple of weeks ago when he played NY. I always find his concerts interesting and go to almost all. Uchida to me is the 'best' though.

In our globalized societies. it is no wonder that today's classical musicians can play the flyshit off the paper, to paraphrase Miles, but lack that 'something'. No way getting around it especially since the 'old traditions' for good or bad are gone and everyone learns from records.

But there are always wonderful surprises like the pianist Joyce Yang who performed Bernstein's Age Of Anxiety with the NY Philharmonic. She nailed th e'jazz' parts just like a jazz player. Terrific performance.

The tradeoff is a little less 'soul' versus a technical proficiency so that when Aimard plays Carter, he plays it with ease.

[gnhrtg]

Just finished listening to this and (guess what) did not enjoy his performance much. Not sure why but perhaps I like my Bach a little drier and less romantic but with more drama, somehow. Of his recordings of non-contemporary music, I do like Aimard's 2001 recording of Debussy's Images and Etudes - certainly more than this recording, on a first spin. I don't see myself being interested in any future baroque projects he might partake in.

As for young pianists - Aimard is 52 but I think I know what you are saying. I need to spend a little time looking through my recently re-arranged shelves but Tharaud and Anderszewski have succeeded in keeping me interested enough. And Yevgeny Sudbin (the youngest among these and the youngest I can come up with whose recordings I enjoy). Let me see who else I have here...