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

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Each set contains 24 pairs of prelude and fugue. The first pair is in C major, the second in C minor, the third in C ♯ major, the fourth in C ♯ minor, and so on. The rising chromatic pattern continues until every key has been represented, finishing with a B minor fugue. The first set was compiled in 1722 during Bach's appointment in Köthen, the second followed 20 years later in 1742 while he was in Leipzig. Poetic and thoughtful, Fischer is one of th Nevertheless, some musicologists say there is insufficient proof that Bach's looped drawing signifies anything reliable about a tuning method. Bach may have tuned differently per occasion, or per composition, throughout his career.

Hans von Bülow called The Well-Tempered Clavier the "Old Testament" of music (the Beethoven Sonatas were the "New Testament"). [49] In the liner notes to the Clair de Lune compilation of piano encores issued by CBS Masterworks, Philippe Entremont relates an anecdote in which von Bülow, having a distaste for the endless clamor for encores, was facing a thunderously applauding house and raised his hand, saying "Ladies and Gentlemen! If you do not stop this immediately I shall play you Bach's 48 preludes and fugues from beginning to end!" The audience laughed but also stopped applauding as they knew von Bülow was able to perform the work from memory. [ citation needed] Das Wohltemperirte Clavier oder Præludia, und Fugen durch alle Tone und Semitonia, so wohl tertiam majorem oder Ut Re Mi anlangend, als auch tertiam minorem oder Re Mi Fa betreffend. Zum Nutzen und Gebrauch der Lehrbegierigen Musicalischen Jugend, als auch derer in diesem studio schon habil seyenden besonderem Zeitvertreib auffgesetzet und verfertiget von Johann Sebastian Bach. p. t: Hochfürstlich Anhalt-Cöthenischen Capel-Meistern und Directore derer Camer Musiquen. Anno 1722.The fugues, because of the style and nature of their composition, might be technically mastered by a less experienced pianist, but the nebulous musicality that I mention above is a far greater challenge. I have heard many technically brilliant renditions of the Bach fugues but rarely have I heard a performance of them that seems to me to have a convincing, passionate musicality. The well-tempered Clavier, or Preludes and Fugues through all the tones and semitones, both as regards the tertiam majorem or Ut Re Mi [i.e., major] and tertiam minorem or Re Mi Fa [i.e., minor]. For the profit and use of the studious musical young, and also for the special diversion of those who are already skilful in this study, composed and made by Johann Sebastian Bach, for the time being Capellmeister and Director of the Chamber-music of the Prince of Anhalt-Cothen. In the year 1722. [31]

Johann Sebastian Bach's Werke. Das Wohltemperirte Clavier, Erster Theil / Zweiter Theil (Leipzig 1851): Indiana University School of Music score in GIF format Both books of the Well-Tempered Clavier were widely circulated in manuscript, but printed copies were not made until 1801, by three publishers almost simultaneously in Bonn, Leipzig and Zurich. [38] Bach's style went out of favour in the time around his death, and most music in the early Classical period had neither contrapuntal complexity nor a great variety of keys. But, with the maturing of the Classical style in the 1770s, the Well-Tempered Clavier began to influence the course of musical history, with Haydn and Mozart studying the work closely. [ citation needed] The City Halls are a ten minute walk from either Buchanan Street Subway Station or St Enoch’s Subway Station (on Argyle Street), as well as both Queen Street and Central Railway Stations for overground services. There are also numerous bus services nearby – for further information visit Traveline Scotland.It has influenced the idea of the relationship of the keys," says Jörg Hansen of the formative influence of the "Well-Tempered Clavier."

With these impressive performances (on her beautiful-toned Amati) of the Solo Sonatas and Partitas Monica Huggett sweeps other baroque interpretations off the board. She nails her colours firmly to the mast in her printed introductory note (which follows an uncommonly perceptive and informative commentary on the music by Mark Audus): her aim, she says, is a characteristically bright and sweet seventeenth-century timbre, and she declares herself less interested in the virtuoso aspect of the music, more in the “interior spirituality of the sonatas and the gracious elegance of the partitas”. That certainly does not imply any absence of virtuosity: there have been few recordings of these pillars of the repertoire so impeccable in intonation and so free from any tonal roughness... Lionel Salter English Suites Nos 1, 3 & 5

Prelude and Fugue in C-sharp major, BWV 848. Prelude also in WFB Klavierbüchlein, No. 21: Praeludium [8]. No. 18: Prelude and Fugue in G ♯ minor, BWV 887 [ edit ] Prelude and Fugue G ♯ minor, played by O. Yevsyukova a b c Schulenberg, David (2006). The Keyboard Music of J.S. Bach (2nded.). Routledge. p.18, 452. ISBN 978-0-415-97400-4. The second best thing, therefore, is to become a good Bach interpreter, he said. "I will continue to play Bach every day on the clavichord in my living room," the 68-year-old added. Andras Schiff is presented with the Bach Medal Image: Gert Mothes/Bachfest The art of 'beautiful'instrument tuning Not everyone will like the brisk tempi (though the Allemandes, for instance, gain in architectural coherence), but few will fail to be charmed by Isserlis’s sweetly singing tone, his perfectly voiced chords and superb control of articulation and dynamic – the way the final chord of the First Prélude dies away is spellbinding. There are so many other delights: the subtle comings and goings of the Third Prélude, the nobly poised Fifth Allemande, the swaggering climax that is the Sixth Gigue – I cannot mention them all. Suffice to say that Isserlis’s Bach is a major entrant into an already highly distinguished field, and a disc many will want to return to again and again... Lindsay Kemp

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