3 edition of The well-tempered clavier. found in the catalog.
The well-tempered clavier.
Johann Sebastian Bach
Music Library c.3: Gift of Desmond Buhagar.
|Series||[His Works for clavier, v. 1-2]|
|LC Classifications||M25 B13 S.846-893 L4|
The video is over one hour and forty-nine minutes long. This is not at the top of my preferred versions; I would take Hewitt, Gould, and Aldwell first. Indeed there is evidence for it being referred to as 'clavichord' at the end of the 18th century. It is based on the synchronicity between the fifth F—C and the third F—A c. Mattheson published Exemplarische Organisten-Probe im Artikel vom General-Bass, which contained 48 examples in all the 24 keys. In this context it is almost ironic that JS Bach begins his highly sophisticated collection with something as naive, simple and innocent as the C maj P.
Whatever their provenances, these schemes all promote the existence of subtly different musical characters in different keys, due to the sizes of their intervals. But Gulda does not give short-shrift to the more lyrical pieces either. Nikolayeva has inconsistent pacing and gets stalled. Three are excellent. It's time to turn up the volume to experience the cataclysmic upheavals of the C sharp minor Fugue. It speaks to us of his great affection for this project and his aim of bringing it to a satisfactory conclusion.
It is also possible to some extent to approach from so-called 'Charakterthema' in H. Mattheson, in order to defend the traditions of the German polyphonic music. The fugue is slower and more serious; it brings to my imagination a deathbed scene where the dying person has suffered greatly and loved ones are watching with dread. Hewitt, Jando, Gould, Schiff, and Roberts deliver great "mainstream" readings. The fugue closes by ways of a warm and splendid organ point with the upper voices rising in counterpointal dialogue to a crowning and lofty C maj. This is partly due to the domestic and educational nature of these compositions.
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In completing the collection, one of the most challenging tasks for Bach must have been the composing of the pieces in those keys which he very rarely used, even in modulated passages. His result is somewhat similar to Werckmeister's most familiar "correct" temperament.
Only Fischer and Nikolayeva are not excellent; Fischer's sound tends to get lost in softer passages, and Nikolayeva is a little short on emotion.
This stage corresponds with the manuscript copy started by Anna Magdalena in The second development, starting in bar 14, more than fulfills such expectations, with an incredibly dense series of strettos, leading into the gloomy Dmin, only to release the built up tension in bar 19 by resolving the candenca into D maj used as double dominant chordpassing on the flow into a further development 3which also introduces some strettos, but in a more relaxed context, both harmonically and with regards to the density of the counterpoint.
There are two pieces which he plays in a perverted fashion; the opening prelude in C is too fast with insufficient lyricism slegehammer effect whereas Schiff on Decca gets it just right.
What, then, were Bach's objectives? Fortunately, a lot has been written about The Well-Tempered Clavier. Aldwell has the slowest adagio and it maintains great interest through his pensive and emotionally charged playing; the allegro is also excellent.
Here is the beginning of BWVan organ work, which is an interesting comparison. It is fascinating to find, therefore, that some manuscript sources contain evidence of transposition being carried out from simpler keys: no. With very few exceptions, Gulda is within the range of what I'd consider "normal" performances.
Take this example from the 5-voice Bb Minor Fugue to see how clearly the voices are shown. The music is energetic and playful with passages of devilish mischief and urgency. In fact, I was mighty impressed with his interpretations.
Fischer is outstanding. Mozart, when rapidly advancing to the height of his mastery, had but to read a manuscript copy of The Well-Tempered Clavier and his style developed a new polyphonic richness and depth of harmony. No strong rubatos, no "search" for hidden melodies, no big interpretational concepts, no wanted or even worse: unwanted tempo changes.
Chopin is nowhere more characteristic than when he shows his love of The Well-Tempered Clavier in his Etudes and Preludes. Nothing is known about whether or not Bach considered having the work published at this stage.
He moves quickly through both prelude and fugue, losing much sense of emotional involvement and missing the mark badly. Every prelude comes, of course, to an end, and that end is always the same — tonic harmony, tweaked into the major if necessary. The two-section forms also signal a greater nearness to dance in the later book — though by no means every such prelude is a dance, and there are dances, too, among the other, non-repeated preludes.
In his day, it was the performers' task to add ornaments and embellishments as a part of expressing the music according to its melodic shape, its harmonic progression and associated texture. Apart from the early versions of several preludes included in W. In this context it is almost ironic that JS Bach begins his highly sophisticated collection with something as naive, simple and innocent as the C maj P.Book: Book-1A 16 Solos Well Tempered Clavier Book 1 Prelude & Fugues Description: This book contains Preludes and Fugues numbered 1 through 8 from the Well Tempered Clavier Book I.
It is a total of 16 Solo pieces. Published by: Savage Classical Guitar Editions in Arranged by: Richard F. Sayage: Pages: 42 Pages: Notation: Standard.
Gulda’s Well-Tempered Clavier Book II - Part 1: Donald Satz wrote (December 9, ): I'm not on a Bach binge any longer, but there's one version I've had a hankering for which I had not acquired - Friedrich Gulda's set recorded in by Philips. Discover releases, reviews, track listings, recommendations, and more about J.
S. Bach*, Keith Jarrett - The Well-Tempered Clavier Book I at Discogs. Complete your J. S. Bach*, Keith Jarrett collection/5(2). Well Tempered Clavier Book I: Prelude C# minor The prelude C# minor stands in contrast to prelude C# major, as it is a cantabile type of music with a strong contrapuntal interaction of the voices.
The prelude is steadily and earnestly flowing, producing a polyphonic aria of rare beauty, similar to what JS Bach has achieved in Book 1 Prelude F. Dec 07, · The Well-Tempered Clavier (Das Wohltemperirte Clavier in the original German title), BWV ?, is a collection of solo keyboard music composed by Johann Sebastian Bach.
He first gave the title to a book of preludes and fugues in all 24 major and minor keys, datedcomposed "for the profit and use of musical youth desirous of learning /5(12). Jul 12, · Thirty-two years after it was recorded, pianist Keith Jarrett’s live reading of J.S.
Bach’s Well-Tempered Clavier, Book 1, has seen the light of day. Performed in the fabled acoustic of the Troy Saving Bank Music Hall in Troy.