I sometime love to browse the old posts within my site. The site is 3 years old and it represents a little slice of “dairystic” history. Sometimes I found it entertaining to cruse in own record observing the triumphs and stupidities of my audio development. I would love it would be more readable and less though-convoluted but it is what it is….
I remember that I wrote this thread among the very first posts in my site. It was a whole weekend of rain and I wrote it under the influence of the Richter’s WTC.
The Well Tempered Clavier is a strange work. I love it when rain and I love it when I right some complicated code. The WTC is hardly algorithmic (here is where the Beethoven’s V, first movement is the ultimate algorithmic kind) but it has that sane of higher mathematics…. and in case of Richter’s WTC it is the mathematics calculations written in ink and then submerged under water….
The Richter’s WTC is not the more beloved WTC by me. This title I would probably give to Samuel Feinberg or Tatiana Nikolayeva or Edwin Fischer or even to the Grigory Sokolov that has own “youngish” beauty. Of course there are also the older and newer anxious performances by Glenn Gould, which are the play of it own. Still, the Richter’s WTC, with it foggy and intolerably romantic, soft and lush approach is very perfect for the long rain mood. In this performance Richter makes own magical sound, almost the Emil Gilels’. It was a perfect balance between of the tempi, play and the room reverberations, not to mention the very obvious not-Sternways type of sound… Sure it is not the best WTC, but it has own “kink”…
Romy the Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche