Bach in the Studio
ROM time to time I decide that Bach .has more than his fair share of limelight on this page, ‘and that I, for one, will not be a party to mentioning his name again for a long time. And then something happens, and off I go again: Station 1YX has just begun a tour of the 48 Preludes and Fugues at the welljudged pace of two per week. The pianist is Edwin Fischer. These are intimate pieces, meant to fill a room rather than a hall, and for this reason (and perhaps because when they are well played they sound a great deal easier than they really are) the virtuosi of the concert hall have mainly discarded them in favour of the more lush noises of Bach-Liszt, Bach-Hess, Bach-Busoni, etc. Why are our local pianists so slow to realise that the conventions and necessities of the concert hall are not those of the broadcasting studio, and that nothing is more suited to the radio than this restrained.
and essentially domestic music? Though we now occasionally hear a French Suite, and even a Partita or Invention, the programmes of studio recitals still show a preponderance of piano transcriptions of violin sonatas, cantatas, and organ fugues. Why leave the 48 entirely in the hands of Edwin Fischer, even if they were the most skilful hands in the world?
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New Zealand Listener, Volume 13, Issue 315, 6 July 1945, Page 9
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230Bach in the Studio New Zealand Listener, Volume 13, Issue 315, 6 July 1945, Page 9
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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