Naxos' Wilhelm Friedemann Bach: Keyboard Works I, featuring fortepianist Robert Hill playing a superb-sounding reconstruction of a Bartolomeo Cristofori-era instrument, contains no less than the fifth complete recording of Bach's set of 12 Polonaises, F. 12. While much of Bach "Son Number 1"s slim output remains obscure or little known, the polonaises seem near to achieving an iconic status, as stylistically they belie the standards of other eighteenth century keyboard music in almost every way. Extremely flexible ...
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Naxos' Wilhelm Friedemann Bach: Keyboard Works I, featuring fortepianist Robert Hill playing a superb-sounding reconstruction of a Bartolomeo Cristofori-era instrument, contains no less than the fifth complete recording of Bach's set of 12 Polonaises, F. 12. While much of Bach "Son Number 1"s slim output remains obscure or little known, the polonaises seem near to achieving an iconic status, as stylistically they belie the standards of other eighteenth century keyboard music in almost every way. Extremely flexible rhythmically, they represent daunting challenges to keyboardists even as they appear relatively clear and simple on the page. Superficially textural in the manner of harpsichord music, they sound equally well on harpsichord, fortepiano, or even a modern concert grand. While different instruments expose various aspects of Bach's music, certain elements remain constant -- his retiring restraint, great variety of ornaments and his disdain for clearly defined formal development. W.F. Bach's...
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