
When the studio album was released, Jarrett’s manner in these iconic
preludes and fugues surprised many listeners with its poetic restraint.
Jarrett said, “When I play Bach, I do not hear the music, I hear almost
the process of thought.” The pianist was deeply attuned to what he
called “the process of thought” in Bach; by not imposing his personality
unduly on the music, Jarrett allowed every note of the score to come
through via the natural lyricism of the contrapuntal melodic lines, the
dance-like pulse of the rhythmic flow. These qualities are strikingly
apparent in Keith Jarrett’s live recording of The Well-Tempered Clavier,
with its added electricity of a concert performance. Jarrett always
points out that Bach was an improviser and, in some ways, Jarrett’s
genius as an improviser brings him closer in spirit to the composer.
“These are performances in which tempos, phrasing, articulation and the execution of ornaments are convincing,” wrote Gramophone of Keith Jarrett’s first recorded account of Bach’s The Well-Tempered Clavier. “Both instrument and performer serve as unobtrusive media through which the music emerges without enhancement.”
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