Zhu Xiao-Mei - Bach: Die Kunst der Fuge, BWV 1080 '2015

Tracks list

Tracklist

01. Die Kunst der Fuge, BWV 1080: Contrapunctus I
02. Die Kunst der Fuge, BWV 1080: Contrapunctus II
03. Die Kunst der Fuge, BWV 1080: Contrapunctus III
04. Die Kunst der Fuge, BWV 1080: Contrapunctus IV
05. Die Kunst der Fuge, BWV 1080: Canon alla decima in contrapunto alla terza
06. Die Kunst der Fuge, BWV 1080: Contrapunctus V
07. Die Kunst der Fuge, BWV 1080: Canon in hypodiapason
08. Die Kunst der Fuge, BWV 1080: Contrapunctus VI
09. Die Kunst der Fuge, BWV 1080: Contrapunctus VII
10. Die Kunst der Fuge, BWV 1080: Canon alla duodecima in contrapunto alla
quinta
11. Die Kunst der Fuge, BWV 1080: Contrapunctus VIII
12. Die Kunst der Fuge, BWV 1080: Contrapunctus IX
13. Die Kunst der Fuge, BWV 1080: Contrapunctus X
14. Die Kunst der Fuge, BWV 1080: Contrapunctus XI
15. Die Kunst der Fuge, BWV 1080: Canon per augmentationem in contrario motu
16. Die Kunst der Fuge, BWV 1080: Contrapunctus XII. Rectus
17. Die Kunst der Fuge, BWV 1080: Contrapunctus XII. Inversus
18. Die Kunst der Fuge, BWV 1080: Contrapunctus XIII. Inversus
19. Die Kunst der Fuge, BWV 1080: Contrapunctus XIII. Rectus
20. Die Kunst der Fuge, BWV 1080: Contrapunctus XIV



Chinese-French pianist Zhu Xiao-Mei is something of a Bach specialist, and her
wonderful recording of Bach's swan song, Die Kunst der Fuge, BWV 1080 (The Art
of the Fugue, not "the art of fugue" as it is translated here), is something of
a summation of her work in the field. Zhu has few competitors nowadays in fully
pianistic, Steinway grand interpretations, and her reading can stand comparison
with the great piano versions of the past. She balances on the knife edge,
making use of the full capabilities of the piano but not taking Bach a step out
of his era. Zhu carefully builds up the work's macro structure, emphasizing the
step-by-step development of the work's basic fugal material with piano
articulation. As the great set of fugues proceeds, she introduces more
expressive shading and complexity, in parallel with the mind-boggling
developments in the music itself, and the final quadruple fugue, breaking off at
the point of Bach's death, seems almost to break on through to the other side.
The recording was made at Bach's own workplace: Leipzig's Thomaskirche. This is
perhaps not where such a chamber work would have originally been performed, but
the location adds an indefinable layer to the performance, perhaps one
associated with the player's own reaction to the space. This is a recording that
will continue to be richly rewarding over many hearings. 

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