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Walter Gieseking’s interpretations of Bach in the early years of his career gained him laurels for “his control over shades of tone, especially over infinite gradations in the range between piano and pianissimo, the clear definition of his agile finger-work, and the firm outlines of his rhythm and phrasing… This style, so lucid and so rhythmical, is the perfect vehicle for Bach’s keyboard music”.
Gieseking’s 1931 account of Beethoven’s ‘Tempest’ Sonata also won him contemporary critical accolades: “Perfect playing matched with perfect recording. I know of no better interpretation of this sonata… a splendid achievement, one of the high water marks of piano recording”.
Johann Sebastian Bach: Concerto in the Italian Style, BWV 971, "Italian Concerto"
Johann Sebastian Bach: Partita No. 1 in B flat major, BWV 825
V. Menuet I-II
Johann Sebastian Bach: Partita No. 5 in G major, BWV 829
V. Tempo di Minuetto
Johann Sebastian Bach: Partita No. 6 in E minor, BWV 830
VI. Tempo di gavotta
Johann Sebastian Bach: French Suite No. 5 in G major, BWV 816
French Suite No. 5 in G major, BWV 816: VIII. Gigue
Johann Sebastian Bach: Herz und Mund und Tat und Leben, BWV 147: Jesu bleibet meine Freude, "Jesu Joy of Man's Desiring" (arr. M. Hess)
Herz und Mund und Tat und Leben, BWV 147: Jesu bleibet meine Freude, "Jesu Joy of Man's Desiring" (arr. M. Hess)
Ludwig van Beethoven: Piano Sonata No. 17 in D minor, Op. 31, No. 2, "Tempest"
I. Largo - Allegro
Ludwig van Beethoven: 7 Bagatelles, Op. 33
7 Bagatelles, Op. 33: No. 1 in E flat major
“…Gieseking's Bach… has a peerless lightness, grace and natural beauty… In the Fifth Partita… Gieseking shows the most subtle virtuosity and is no less convincing in the Sixth Partita's more strenuous and concentrated demands.”
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