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Rebecca Pechefsky | Bach: The Well-Tempered Clavier Book Two

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Classical: Baroque Classical: Keyboard Music Moods: Solo Instrumental
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Bach: The Well-Tempered Clavier Book Two

by Rebecca Pechefsky

Pechefsky's long-awaited recording of Bach's Well-Tempered Clavier, Book 2, the companion to her highly acclaimed recording of Book 1.
Genre: Classical: Baroque
Release Date: 

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  Song Share Time Download
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1. The Well-Tempered Clavier, Book Two: Prelude No. 1 in C Major, BWV 870
2:29 $0.99
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2. The Well-Tempered Clavier, Book Two: Fugue No. 1 in C Major, BWV 870
2:16 $0.99
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3. The Well-Tempered Clavier, Book Two: Prelude No. 2 in C Minor, BWV 871
2:33 $0.99
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4. The Well-Tempered Clavier, Book Two: Fugue No. 2 in C Minor, BWV 871
2:10 $0.99
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5. The Well-Tempered Clavier, Book Two: Prelude No. 3 in C-Sharp Major, BWV 872
2:06 $0.99
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6. The Well-Tempered Clavier, Book Two: Fugue No. 3 in C-Sharp Major, BWV 872
2:10 $0.99
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7. The Well-Tempered Clavier, Book Two: Prelude No. 4 in C-Sharp Minor, BWV 873
5:01 $0.99
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8. The Well-Tempered Clavier, Book Two: Fugue No. 4 in C-Sharp Minor, BWV 873
2:57 $0.99
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9. The Well-Tempered Clavier, Book Two: Prelude No. 5 in D Major, BWV 874
3:52 $0.99
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10. The Well-Tempered Clavier, Book Two: Fugue No. 5 in D Major, BWV 874
3:11 $0.99
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11. The Well-Tempered Clavier, Book Two: Prelude No. 6 in D Minor, BWV 875
1:54 $0.99
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12. The Well-Tempered Clavier, Book Two: Fugue No. 6 in D Minor, BWV 875
2:13 $0.99
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13. The Well-Tempered Clavier, Book Two: Prelude No. 7 in E-Flat Major, BWV 876
3:19 $0.99
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14. The Well-Tempered Clavier, Book Two: Fugue No. 7 in E-Flat Major, BWV 876
2:04 $0.99
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15. The Well-Tempered Clavier, Book Two: Prelude No. 8 in D-Sharp Minor, BWV 877
3:11 $0.99
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16. The Well-Tempered Clavier, Book Two: Fugue No. 8 in D-Sharp Minor, BWV 877
3:32 $0.99
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17. The Well-Tempered Clavier, Book Two: Prelude No. 9 in E Major, BWV 878
4:00 $0.99
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18. The Well-Tempered Clavier, Book Two: Fugue No. 9 in E Major, BWV 878
2:51 $0.99
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19. The Well-Tempered Clavier, Book Two: Prelude No. 10 in E Minor, BWV 879
2:52 $0.99
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20. The Well-Tempered Clavier, Book Two: Fugue No. 10 in E Minor, BWV 879
3:24 $0.99
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21. The Well-Tempered Clavier, Book Two: Prelude No. 11 in F Major, BWV 880
4:01 $0.99
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22. The Well-Tempered Clavier, Book Two: Fugue No. 11 in F Major, BWV 880
2:03 $0.99
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23. The Well-Tempered Clavier, Book Two: Prelude No. 12 in F Minor, BWV 881
3:35 $0.99
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24. The Well-Tempered Clavier, Book Two: Fugue No. 12 in F Minor, BWV 881
2:16 $0.99
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25. The Well-Tempered Clavier, Book Two: Prelude No. 13 in F-Sharp Major, BWV 882
4:18 $0.99
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26. The Well-Tempered Clavier, Book Two: Fugue No. 13 in F-Sharp Major, BWV 882
2:54 $0.99
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27. The Well-Tempered Clavier, Book Two: Prelude No. 14 in F-Sharp Minor, BWV 883
2:42 $0.99
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28. The Well-Tempered Clavier, Book Two: Fugue No. 14 in F-Sharp Minor, BWV 883
4:23 $0.99
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29. The Well-Tempered Clavier, Book Two: Prelude No. 15 in G Major, BWV 884
2:55 $0.99
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30. The Well-Tempered Clavier, Book Two: Fugue No. 15 in G Major, BWV 884
1:35 $0.99
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31. The Well-Tempered Clavier, Book Two: Prelude No. 16 in G Minor, BWV 885
2:38 $0.99
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32. The Well-Tempered Clavier, Book Two: Fugue No. 16 in G Minor, BWV 885
3:37 $0.99
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33. The Well-Tempered Clavier, Book Two: Prelude No. 17 in A-Flat Major, BWV 886
4:26 $0.99
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34. The Well-Tempered Clavier, Book Two: Fugue No. 17 in A-Flat Major, BWV 886
2:50 $0.99
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35. The Well-Tempered Clavier, Book Two: Prelude No. 18 in G-Sharp Minor, BWV 887
5:08 $0.99
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36. The Well-Tempered Clavier, Book Two: Fugue No. 18 in G-Sharp Minor, BWV 887
3:50 $0.99
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37. The Well-Tempered Clavier, Book Two: Prelude No. 19 in A Major, BWV 888
2:15 $0.99
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38. The Well-Tempered Clavier, Book Two: Fugue No. 19 in A Major, BWV 888
1:56 $0.99
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39. The Well-Tempered Clavier, Book Two: Prelude No. 20 in A Minor, BWV 889
4:41 $0.99
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40. The Well-Tempered Clavier, Book Two: Fugue No. 20 in A Minor, BWV 889
2:09 $0.99
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41. The Well-Tempered Clavier, Book Two: Prelude No. 21 in B-Flat Major, BWV 890
7:23 $0.99
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42. The Well-Tempered Clavier, Book Two: Fugue No. 21 in B-Flat Major, BWV 890
2:35 $0.99
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43. The Well-Tempered Clavier, Book Two: Prelude No. 22 in B-Flat Minor, BWV 891
3:11 $0.99
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44. The Well-Tempered Clavier, Book Two: Fugue No. 22 in B-Flat Minor, BWV 891
4:44 $0.99
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45. The Well-Tempered Clavier, Book Two: Prelude No. 23 in B Major, BWV 892
2:11 $0.99
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46. The Well-Tempered Clavier, Book Two: Fugue No. 23 in B Major, BWV 892
4:11 $0.99
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47. The Well-Tempered Clavier, Book Two: Prelude No. 24 in B Minor, BWV 893
2:26 $0.99
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48. The Well-Tempered Clavier, Book Two: Fugue No. 24 in B Minor, BWV 893
2:11 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
From Rebecca Pechefsky’s liner notes:

When I was a student at Juilliard pre-college, presenting a prelude and fugue from Bach’s Well-Tempered on your jury was a year-end ritual—that is, a prelude and fugue from Bach’s Well-Tempered, Book I. Book II, with a couple of exceptions, was consistently less studied. (I did hear people occasionally playing the galant and almost pianistic Prelude in F Minor.) In fact, I only ever learned one prelude and fugue from Book II on the piano and that later, during my undergraduate years. It wasn’t until I had switched to harpsichord in graduate school that I began to really explore Bach’s monumental second book. This seems to be a fairly common pattern, at least our time. In the liner notes to his recent recording, harpsichordist Christophe Rousset also describes how he remembers his “weekly study of a prelude and fugue from the first book.” But what of the second book? Rousset gives the impression, and I would probably agree, that Book II is not really a work for students, but a “summit” that can only be confidently scaled by a mature artist. Certainly the pieces are mostly longer and more demanding, both technically and musically.
Nevertheless, Bach did write and assemble his second book of the Well-Tempered Clavier for his students. Or did he? His reasons for putting together a second book of preludes & fugues in all twenty-four keys are the subject of speculation. Some twenty years separate the completed versions of the two books: the fair copy of Well-Tempered I dates from 1722 and that of Well-Tempered II from 1744. Bach probably worked on Book II from 1739 to 1743, and some of the pieces exist in earlier versions. By dint of recomposing, reshaping, transposing, and composing afresh, Bach fashioned a second book, and the effort it took to do so clearly shows that he considered it an important part of his legacy.

From a recent review:

“What was noticeable to me after only a few seconds into the very first prelude was a raptness in Pechefsky’s playing that made all thoughts of tuning systems and other esoterica fade away and seem totally irrelevant. I was simply riveted by the empyrean beauty of this music as I don’t think I’ve ever heard before. I thought to myself, this is where the notes, soaring upwards off the page, become music.
We often speak of players in Bach’s solo keyboard works clarifying the counterpoint, so that we are made aware of the interplay of voices against each other. Pechefsky is as adept at that as any, but what holds me in awe of her playing of these preludes and fugues is how she finds, brings out, and sustains the long-breathed melodic lines hidden within the busy contrapuntal activity. This is Bach in song. When I listen to her play the fairly simple chordal harmonic progressions in the Prelude in C♯ Major, I find myself singing the melody that lies within it, and I now understand what impelled Glenn Gould to accompany his playing with his own vocalizations.
I’ve heard lots of WTCs over the years, on both harpsichord and piano, among them those by Richard Egarr, Glenn Gould, Keith Jarrett, Angela Hewitt, Craig Sheppard, András Schiff, Ralph Kirkpatrick, Kenneth Gilbert, Bob van Asperen, Luc Beauséjour, and probably half a dozen others. I think I can honestly say, though that Rebecca Pechefsky endows these preludes and fugues with a sense of gladness in being alive that strikes me as quite extraordinary. There is fun to be had in the hunting-horn calls of the Prelude in D Major and pure joy in its paired fugue. There’s the thrill of pure virtuosity in the Prelude in D Minor and a bit of oddball, possibly even black, humor in the B-Major Fugue. There are wonderfully sad, contemplative, and comforting numbers as well, one of my favorites being the Prelude in A♭ Major, which Pechefsky invests with a feeling of the most benevolent bliss.”
—Jerry Dubins, Fanfare Magazine

Well known in the New York area, Rebecca Pechefsky has performed in such venues as Carnegie Hall’s Weill Recital Hall, Merkin Hall, and the Morris-Jumel Mansion, where she and Brooklyn Baroque perform in a yearly series. She has also been heard in concert series of the Miami Bach Society and the Harpsichord Center in Pasadena and Brentwood, California, as well as in fringe concerts of the Boston Early Music Festival and the Berkeley Festival. Recent European engagements include recitals in Tallinn (Estonian Harpsichord Festival), London (Handel House), Milan (Sforza Castle), Bologna, Amsterdam, Berlin, and Basel. Among her recordings for Quill Classics are the complete harpsichord music of François d’Agincour; Bach and His Circle (JPF Music Award, Best Classical Solo Album); Bach’s Well-Tempered Clavier, Book 1, praised in Fanfare as “excellent to the highest degree”; and Johann Ludwig Krebs @ 300. As part of the Krebs 300th birthday celebrations in Germany, she was invited to perform in Zwickau and Altenburg in October 2013. Also committed to contemporary music, she has premiered works by Mary Inwood, Mark Janello, Graham Lynch, Frank J. Oteri, Louis Pelosi, Johnny Reinhard, and Ben Yarmolinsky, and can be heard on Beth Anderson’s new CD, The Praying Mantis and the Bluebird (MSR Classics). Currently organist at Redeemer Lutheran Church in Glendale, Queens, she lives in Brooklyn with her husband, Erik Ryding, with whom she coauthored the award-winning biography Bruno Walter: A World Elsewhere. In July 2014 she began recording the second book of Bach‘s Well-Tempered Clavier for Quill Classics, slated for 2017. Rebecca graduated as a piano major from Juilliard’s Pre-College program before earning her undergraduate degree at Barnard College, followed by an MA in harpsichord from Queens College and an MPhil in musicology from the CUNY Graduate Center. Her piano teachers included Seymour Lipkin; she later studied harpsichord with Louis Bagger, Kenneth Cooper, and Raymond Erickson, with master classes from Olivier Beaumont, Kenneth Gilbert, and Colin Tilney. For more information, visit rebeccapechefsky.com

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