Bach and his circle, before and beyond, continue to exert a fascination for keyboard players, and this group of new recordings on harpsichord and organ includes both core repertory and works ranging from the 17th century to the last of Bach’s pupils. Steven Devine’s Johann Sebastian Bach: Das wohltemperierte Klavier volume 1 (Resonus res10239, issued 2019, 111′) uses a Colin Booth double after Fleischer (1710), tuned in a variant of Kirnberger III (the same Kirnberger tuning Booth used for his own recent recording of this set (Soundboard sbcd218, rec 2018, 122′)). While all keys are useable, it is also clear when extreme keys are reached, lending some variety to the cycle when listened through in sequence. The emphasis is on clarity throughout (aided by an exemplary recording), with well-controlled articulation, and there are no extreme tempos or interpretative quirks. Virtuosity is there when needed, as in the G major Prelude or the A major Fugue, but this set is all about Bach not Devine, and only rarely are there moments (G! minor Fugue) when the music seems a little undercharacterized. If the performer’s forthcoming recording of Book 2 maintains the same standard, this will be one of the most desirable sets of the 48.

中文翻译：

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巴赫及以后

巴赫和他的圈子在此之前和之后一直对键盘演奏者着迷，这组关于大键琴和管风琴的新唱片包括核心曲目以及从17世纪到巴赫最后一位学生的作品。史蒂文·德瓦恩（Steven Devine）的约翰·塞巴斯蒂安·巴赫（Johann Sebastian Bach）：《音乐世界》第1卷（Resonus res10239，于2019年发行，111′）使用的是比弗莱舍（1710年）高一倍的科林·布斯，并采用了另一种柯恩贝格三世的变体（与他自己最近使用的基恩贝格调音台相同）录制此唱片集（Soundboard sbcd 218，rec2018，122'））。尽管所有键均可用，但到达极限键时也很清楚，按顺序收听时为循环提供了一些变化。重点是始终保持清晰（通过示例性录音辅助），并具有良好的发音控制，并且没有极端的节奏或解释性的怪癖。诸如G大调前奏曲或A大调赋格曲中，有需要时才有美德，但是这一切都是关于巴赫而不是迪瓦恩的，而且在音乐似乎有些欠缺特征的时候（G！小调赋格曲）很少出现。如果表演者即将出版的第二册录音保持相同的标准，这将是48套书中最理想的一套。