Prelude In E Major from The Well Tempered Clavier Book 2 BWV 878 - The David Rees-Williams Trio*, Bach* - Classically-Reminded Bach (CD, Album) download full album zip cd mp3 vinyl flac
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Top Reviews Most recent Top Reviews. Prelude In E Major from The Well Tempered Clavier Book 2 BWV 878 - The David Rees-Williams Trio* was a problem filtering reviews right now. Please try again Bach* - Classically-Reminded Bach (CD. Verified Purchase. Fantastic music. Having cut my teeth on The Swingle Singers, and the Jacque Loussier Quartet, nothin very revolutionary in the content, just a different slant, but what a slant. Runs from the romantic to the very active in track after track.
Some quite sublime and all with real musical masterclass of playing. Really really big. The opposite of the Ab Major Fugue, i. None at all. Only sadness, yearning, and desolation. There are no words left for what Bach did with this.
The fugue theme uses all 12 chromatic tones, and the resulting harmonies and structures as he develops that material are so inexplicable that music historians and analysts are left scratching their heads trying to explain how he created such wondrous and radical music.
Pay careful attention to the three magisterial sequences that punctuate the structure of the piece. In it's whole, the Well-Tempered Clavier delves into some of the most complicated and compelling counterpoint ever written. For example, the Album) that ends the cycle of Book 1, the great B-Minor Fugue, is so chromatic and convoluted that it shocks the modern ear with its complexity.
At the start of the cycle, however, Bach bluffs us with "simplicity". The C-Major Prelude, famous for its naive beauty, and for the fact that nearly every piano student takes a crack at it sometime in their studies, is actually an almost ironic outlier in a collection of polyphonic works. It is not immediately polyphonic though it can be strongly argued that there are indeed five voices from start to finishand it is even devoid of a Prelude In E Major from The Well Tempered Clavier Book 2 BWV 878 - The David Rees-Williams Trio*.
At first glance it is nothing but a series of arpeggiated chords around a nice, but not especially daring, harmonic progression in C Major. The subtle beauty of the music is undeniable, though, and it stands out through the whole of music history as distinctly recognisable and endearing, which is an excellent way to start off the monumental achievement of The Well-Tempered Clavier.
The first fugue in the Well-Tempered Clavier is a beautiful introduction to the world of Bach's fugues. A fugue is a style of musical composition where a Theme melody is introduced, and then repeated in one or more other voices.
This is in contrast to modern songs which have a melody, usually sung or played by one voice, chords, and rhythm. This is what the theme of this fugue looks like:. In the first section of the fugue, each of the four voices introduces the theme, starting on a different note. In this section, the theme never overlaps itself. After all four voices have entered with the theme, Bach starts making things more interesting, and voices start playing the theme so that it overlaps with other voices.
When the theme entrances overlap, this is called stretto. As you watch, you'll see that Bach uses stretto more and more, which heightens the tension of the piece. The theme occurs 24 times in this fugue. Bach loved numbers, symbolism, and symmetry, so this is very likely his way of showing that he intended to write 24 fugues altogether. See if you can hear each entrance of the fugue while you listen to Kimiko Ishizaka performing it.
The 2nd prelude, in C-Minor, is a dramatic, almost mechanical creation where tempo and articulation are the principal interpretive tools available to the artist. The piece has tempo indications from Bach, a rarity, in that bar 28 is marked prestobar 34 adagioand then allegro in bar You can also listen to the version of the Prelude No. The C-Minor Fugue, in three voices, is textbook material for learning what a fugue really is.
DaveConservatoire uses a live performance by Kimiko Ishizaka from to exemplify various fugal constructions in this video:. You can hear the later, studio recording of the same piece in this video.
It is interesting to hear how Kimiko's interpretation of the piece evolved from toover the course of constant study and multiple performances, Album). This fugue's theme features the interval of the 6th very prominently, which is strongly linked to the overall feeling of exuberance and joy that the music expresses. The three fugue subjects are introduced from top to bottom and they never overlap no stretto. No other techniques, such as augmentation, diminution, or inversion are applied to the fugue theme.
One of the striking structural characteristics of the piece is the extended episode - music based on fragments of the theme, used in imitation, usually for modulation - between bars 29 and One of the key features of this episode is the imitative exchange of three note fragments between voices with running 16th notes in the third voice.
The haunting five-voice fugue in B-flat minor has several characteristics which are notable. First, it is one of the rare fugues with five voices there are two in Book 1 of the Well-Tempered Clavier, and none in Book 2. Second, the theme features a dramatic and expressive leap of a minor 9th the big jump upwards between the 2nd and 3rd notes.
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