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Bach, Prelude and Fugue f-sharp-minor, WTC II, BWV 883

Discussion in 'Submission Room' started by musicusblau, Nov 7, 2010.

  1. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    To follow the chromatic order, I would have had to record p&f e-minor first, but I decided to do f-sharp-minor first, because I love it so much. It´s one of the most inspirated pairs of WTC II, both, the prelude and the fugue.
    The prelude for me is a very lamenting and lyrical piece. Though I´m not a lamenting character, but more a blitheful one (Chris, I´m glad you teached me some times ago not to use the English word "gay" for to express "blitheful" :lol: ), I like this kind of Bach-pieces very much. Strange isn´t it?! :lol:

    Though I´m happy with my interpretation, my only two small niggles of myself are the following:
    1) In the prelude in the bars 14 and 16 I play the thirtysecond-notes may be rhythmically a bit too freely, but one could count that to "artistical formation", if you like.
    2) I forgot to cut out a small slip in bar 50 of the fugue.

    Feedback is very appreciated!

    Here are the video-links. The mp3-file below is exact the audio-track of the videos.

    http://www.youtube.com/watch?v=e4X8__9FMqI (prelude f-sharp-minor, BWV 883)
    http://www.youtube.com/watch?v=bxqNuPH_qZk (fugue f-sharp-minor, BWV 883)



    Back - Prelude & Fugue in F-sharp minor, BWV 883
     
  2. pianolady

    pianolady Monica Hart, Administrator Staff Member Piano Society Artist

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    This is up, Andreas. Good job - I like that Prelude a lot. It's sad and melancholy and brooding - nice! :lol:
     
  3. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    [​IMG]very much for having put it up, Monica. :D

    I´m glad you like the piece. Yeah, sometimes it´s really nice to be pondering. [​IMG] Sometimes even if you are a blitheful character. [​IMG]
     
  4. Bruce Siegel

    Bruce Siegel New Member

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    Very nice, Andreas! I'm getting to know your Bach and learning that it's always clear, warm, and with just the right amount of rubato. Where you switched camera angles—is that an edit point? I have to ask because it's so smoothly done, I can't be sure.

    Bruce
     
  5. techneut

    techneut Active Member Piano Society Artist

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    A great job once again! Yes this is wonderful pair (aren't they all...), especially the fugue. I'd like to skip forward to this one too but it's not the time yet. I hope when the time comes my re-recording will be somewhat near as good as this.
    A strange moment halfway beat 1 of bar 21 of the prelude - is that an edit ?
    The fugue I like a little slower and more introspective, but that is personal taste. Your first trill in the fugue seems to distort the rhythm a bit somehow. And in bar 49 of the fugue, beat two, you interchange the two LH notes (probably the error you mentioned). Apart from these little things, all is perfection here. I had to play this pair right away after listening to you :D
     
  6. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    BruceSiegel wrote:
    Thank you very much, Bruce. I´m glad you like my interpretation.

    Yes, the moment of change of camera angles is the moment of the page turn. I stop here, turn the page and begin to play again, at the end I cut together both parts. That´s the technique to avoid a page-turn in your recording. You have to change the camera angle because otherwise you would have a "hitch" in your video-film. :lol: I´m glad you say, that you don´t hear the cut, I´m always very critical with myself concerning the cuts and usually you don´t hear them.
     
  7. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    Techneut wrote:
    Yes, of course, they all are... :D

    Could you define that "strange moment" nearer, please. I can´t hear one there and there certainly is no edit.

    Really, well, I will think about that...

    Oh, right! Thank you so much for this valuable advice. I really have absolutely not noticed that somehow. So, probably I should re-record. No, I meant the very little slip on the third beat of bar 49. Another reason to re-record...

    Yes, these little imperfections make my recordings more human than modern commercial ones. For me the main thing is, that I feel well with my interpretation, that means that I can express the music from inside and so it can be called "expressive" respective "musical" somehow. I´m glad to have inspired you and I attend your version with much interest as usual.
     
  8. techneut

    techneut Active Member Piano Society Artist

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    The A in the RH sounded a bit weak suddenly, as if it were from another take. That probably was intentional then.

    Drat, I didn't hear anything wrong there. I'm getting old ...

    So, don't re-record them then :!:
     
  9. Rachfan

    Rachfan Active Member Piano Society Artist

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    Hi Andreas,

    I just listened to your latest Bach offerings here. You play this prelude and fugue beautifully. The F#m Prelude is lovely. It flows very nicely and has a bit of a melancholy sound to it I think. You're always very respectful of using the pedal in Bach. In this prelude there are near constant passing and neighboring tones, which very often precludes the pedal, which explains why you rely on more precise "finger pedaling". But, I'm thinking that there might be just a few opportunities there for some very light touches of pedal. What clarity you bring to the voices in the fugue! It's an outstanding performance.

    Just wanted you to know how much I enjoyed listening to this pair.

    David
     
  10. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    O.k., my friend, I think, you are right, especially because the interchanging of the d and b in the left hand doesn´t really matter something, because it´s the same harmony (b-minor-chord). Since you yourselfhaven´t heard the little slip in bar 49 it can´t be too bad. You are a true levelling board for me concerning precisness of listening and you have this ability more than me, that´s sure.
    I think, my respect for my interpretation and my happiness with it makes me not to want to re-record this pair this time.
     
  11. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    Rachfan wrote:
    Thank you so much, dear friend, you know how much your praising words mean to me, because I appreciate you so much as artist! :D
    Yes, though usually I´m really very attentive with pedal in Bachs music in this pair I use quite a lot of it, of course not in the passages of neighboring tones. In other passages indeed I have some light touches of pedal built in. I think, in summary I´m using more pedal while playing Bach than in former times. The reason for this is in my new volition to form a beautiful and soulfull tone (sound). I´m not any more so much on the "dry trip" concerning my Bach-playing, but I have come more on a resonant and warm sound-imagination. Your feedback is a sign for me, that you noticed that and that´s very encouraging!

    Have warm greetings!
    Andreas
     
  12. techneut

    techneut Active Member Piano Society Artist

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    I still don't know what it is in bar 49 that I'm supposed to have missed. The two interchanged notes are in bar 49 but I don't hear anything else wrong there. However, on re-listening, couldn't help noticing a mistake in bar 53 - RH plays C# instead of C natural.
     
  13. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    Techneut wrote:
    Thanks, Chris, you know, how much I appreciate such advices. You are absolutely right and you know, a real wrong tone is a reason to re-record for me. So I will do that.
    I´m actually working on e-minor and I invest all my freetime into it at this moment, because this pair is really new for me. It still will take a while, though I still have finished to find out and to learn the finger-settings. I´m working on the voicing and the tempo at this moment.
     
  14. dubya

    dubya Member Piano Society Artist

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    Very beautiful performance - particularly in the prelude where you sustain good tone/colours, and the voices are very clear. I think you seem to really understand the "whirlwind-like" concept of the triplets searching through all of the harmonies.
    Your fugue, in my opinion, is still a bit too polite - particularly when the second (dotted) subject/theme appears, it can have a bit more presence to be in contrast with the material from before. In general, the major build-up phrases you play very beautifully but I think could have more weight and have a bit of appassionato so that the fugue doesn't become one long and flowing piece, but rather collection of ideas with so many themes running together at once to highlight the struggle.

    Well done!
     
  15. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    dubya wrote:
    Thanks for that, dubya! I don´t know, if I can agree to the "whirlwind"-idea in that relatively slow and complaining prelude, but I second the imagination of "searching through all of the harmonies", which is something typic for Bach here and there. I love that.

    That´s a nice suggestion for an interpretation. I could imagine it sounds convincing, if it´s done well! I personally had another idea (this time) for my interpretation, more a soft and complaining one, as a continuation of the expression of the prelude. But I appreciate such ideas and inspirations. Thank you!
     
  16. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    dubya wrote:
    Thanks for that, dubya! I don´t know, if I can agree to the "whirlwind"-idea in that relatively slow and complaining prelude, but I second the imagination of "searching through all of the harmonies", which is something typic for Bach here and there. I love that.

    That´s a nice suggestion for an interpretation. I could imagine it sounds convincing, if it´s done well! I personally had another idea (this time) for my interpretation, more a soft and complaining one, as a continuation of the expression of the prelude. But I appreciate such ideas and inspirations. Thank you!
     
  17. johnlewisgrant

    johnlewisgrant New Member Piano Society Artist

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    Just fantastic. I'm speachless. Honestly.... this interpretation is perfection. You must be very happy with it. I'm afraid to touch this prelude/fugue combination now. I'm not sure this performance can be improved on in any way.

    JG
     
  18. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    Hi John,
    thank you from heart for taking the time to listen and to write me such an encouraging comment. I´m sure you mean it sincerely and it makes me very happy! :D :D :D

    I´m very happy with my interpretation, that´s true. But I think, there also can be found other convincing solutions, so don´t be afraid to experiment further on this wonderful pair. Bach offers a lot of possibilities for interpretation!

    But nevertheless, I´m very happy to have found an interpretation, which you like so much!
     
  19. johnlewisgrant

    johnlewisgrant New Member Piano Society Artist

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    The interpretions of this fugue are varied, from slow and serious (Aldwell) to dance like and bouncey (Hewitt). And there are probably as many ways of "hearing" or "listening" to it. I like it played straight, with few variations in tempi, and slender ornamentation. Not sure why, in this instance. It could be that this fugue is much, much more than the sum of its subjects, their interplay, and so on. With Bach there is almost always something more involved than even the most perfect and well-delineated part-playing can express. Although I know there are plenty of folks out there who see the 48 as priimarily technical exercises. I've never understood that view.

    JG
     
  20. musicusblau

    musicusblau Administrator Staff Member Piano Society Artist

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    Dear John,
    I agree to all you have written above. Though Bach has thought his "Well-Tempered Clavier" as an education work for his pupils, I also don´t understand, how people can consider it only as a technical praxis. There are many many higher dimensions behind it!
    I personally would call my interpretion (or is the correct English word "interpretation"?) more a "lyrical" than a "straight" one, but descriptions with words are very subjective, of course.
    Thank you for your valuable comment and praise!
     

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