Bach′s Well–Tempered Clavier – The 48 Preludes and Fugues

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Jean M. Perreault. The Thematic Catalogue of the Musical Works of Johann Pachelbel, p.84. Scarecrow Press, Lanham, Md. 2004. ISBN 0-8108-4970-4. This is Bach-playing to listen to every day, fresh, spry and well modulated. If spirituality is to be found in The Art of Fugue, Aimard seems to say, it will not be through slow tempi, dynamic extremes or the quasi-religious trappings arrayed by the likes of Sokolov, Kocsis, Koroliov and Nikolaieva. The tripping, French swagger of Contrapuncti 2 and 6 and the smart Italian cut of No 9 fit neatly under the fingers. Freedom is found within the interplay of voices rather than any fancy phrasing: in fact the mirror fugues and canons are so unfussily done that you’d never guess without a score to hand how much a single musician can look and sound like Mr Messy while playing them... Peter Quantrill John H. Baron. A 17th-Century Keyboard Tablature in Brasov, Journal of the American Musicological Society, xx (1967), pp.279–285. Oswald Bill, Christoph Grosspietsch. Christoph Graupner: Thematisches Verzeichnis der musikalischen Werke. Carus, 2005. ISBN 3-89948-066-X

Werker, Wilhelm. Studien über die Symmetrie im Bau der Fugen und die motivische Zusammengehörigkeit der Präludien und Fugen des "Wohlemperierten Klaviers" von Johann Sebastian Bach (Leipzig: Breitkopf und Härtel, 1922)As on previous Perahia Bach concerto recordings, the overriding impression is of intelligence, sensitivity and drama tempered by humility – Bach’s and Perahia’s. The Italian Concerto begs the by-now familiar question as to how one pair of hands can command so many simultaneous dynamic grades without sounding strained or self-conscious. The outer movements are colourful but never prettified, the principal melody of the central Andante like a memory of classic bel canto. And yet Perahia’s Bach has plenty going on: you attend to one layer of counterpoint, then return for another and so on, discovering something new each time. Even when judged in relation to other top-ranking piano recordings of Bach (among the most recent, Goode, Hewitt, Schiff and Anderszewski) this CD strikes me as exceptional. The recorded sound is full and forward... Rob Cowan

Prelude and Fugue in D minor, BWV 851 [ commons]. Prelude also in WFB Klavierbüchlein, No. 16: Praeludium 3. Since 1950 there have been many other proposals and many performances of the work in different and unequal tunings, some derived from historical sources, some by modern authors. Whatever their provenances, these schemes all promote the existence of subtly different musical characters in different keys, due to the sizes of their intervals. However, they disagree as to which key receives which character:Interbartolo, Graziano; Venturino, Paolo; Bof, Giampiero (July 2007). Bach 1722 – Il temperamento di Dio – Le scoperte e i significati del 'Wohltemperirte Clavier' (in Italian). Edizioni Bolla, Finale Ligure. p.136. A000068628. Prelude and Fugue in E major, BWV 854 [ commons]. Prelude also in WFB Klavierbüchlein, No. 19: Praeludium 6.

Informed by the spikier sound of the harpsichord, Schiff avoids the temptation to smudge Bach’s textures with the piano’s sustaining pedal. Instead, thanks to his impeccable technique and instinctive grasp of the music’s architecture, he floats the sound, spinning cantabile melodies with the fingers alone (and with a little help from ECM’s glossy recording). Contrapuntal lines are sharply etched, so that even the most highly wrought fugues sound transparent as cut glass. Daniel Heartz. Mozart, Haydn and Early Beethoven: 1781–1802, p. 678. W. W. Norton & Company, 2008. ISBN 978-0-393-28578-9 groups of dances, "clearly related to 12 major and 12 minor keys" (1584) by Vincenzo Galilei (c.1528–1591) [5] [ failed verification] Unfortunately, I have no talent for composing, but if you know what makes a great composer like Bach, you also know what not to do, which is to compose something mediocre," Schiff said in his acceptance speech.Read the full review Brandenburg Concerto No 5. Concerto for Flute, Violin, Harpsichord. Italian Concerto The first complete recording of the Well-Tempered Clavier was made on the piano by Edwin Fischer for EMI between 1933 and 1936. [55] The second was made by Wanda Landowska on harpsichord for RCA Victor in 1949 (Book 1) and 1952 (Book 2). [56] Helmut Walcha, better known as an organist, recorded both books between 1959 and 1961 on a harpsichord. [57] Daniel Chorzempa made the first recording using multiple instruments (harpsichord, clavichord, organ, and fortepiano) for Philips in 1982. [58] As of 2013, over 150 recordings have been documented. [59] The Glenn Gould recording of BWV 870 was included on the Voyager Golden Record. Sechs Praeludien und Fugen für die Orgel Pedal und Manual / von Johann Sebastian Bach; für das Pianoforte zu zwei Händen gesetzt von Franz Liszt

J S Bach compiled two books of 24 Preludes and Fugues which he wrote at different times: the first was finished by 1722, the second by 1744 (or possibly earlier). Each book follows the same key scheme progression of major/minor pairs, beginning with C Major and ascending the 12-note chromatic scale (C Major, C minor, C-sharp Major, C-sharp minor etc.).

Bach Medal for Andras Schiff

Palisca, Claude V. (2001). "Vincenzo Galilei". In Sadie, Stanley; Tyrrell, John (eds.). The New Grove Dictionary of Music and Musicians (2nded.). London: Macmillan Publishers. ISBN 978-1-56159-239-5. ‎ What is clear from this brief survey is that technical difficulty can be agreed upon for most of the pieces in the ‘Well-Tempered Clavier’, but finding universal acquiescence regarding musical difficulty and challenge is another realm entirely. Amongst the collection of 48 pieces, there is something that would suit a player who has been studying the piano for at least a year (unless they have made giant steps forward), in the preludes. Find sources: "Prelude and fugue"– news · newspapers · books · scholar · JSTOR ( June 2019) ( Learn how and when to remove this template message)