Inspired by the Bach playing of the young Tatiana Nikolayeva, the composer wrote his own series of preludes and fugues for her in record time. In 1975 few music lovers knew the work, and it was the young firebrand Roger Woodward who made the first complete recording in the West. That set has now been reissued after 35 years in the RCA vaults.
Woodward treats this work as if it were avant-garde – which it was closer to being in 1975. For a start, he plays most of it at dazzling speeds; his performance is 20 minutes shorter than Ashkenazy’s. Woodward’s articulation is crisp and pointed, the result not unlike Glenn Gould’s Bach (and the sound quality is similarly on the dry side). At high speed the C-sharp minor prelude positively glistens, while the A minor prelude and fugue barrel along. The G-sharp minor fugue is undeniably exciting, though it soon turns a trifle clattery, and the lovely A major prelude loses its tranquillity at Woodward’s rushed tempo. The well-known D-flat major prelude becomes a galumphing, mechanistic waltz: echoes of the young, sarcastic Shostakovich of the 1920s, so clearly heard in some other performances, are nowhere in evidence here. The final D minor prelude and fugue set the seal on Woodward’s modernity.
Displaying no hint of triumphalism, he projects these pieces with the stark grittiness of a black-and-white lithograph. While some aspects of the work are lost, Woodward’s vitality and sense of discovery make his set compelling in its own individual way.