By David Ledbetter
Bach's "Well-Tempered Clavier" (the forty eight preludes and fugues) stands on the middle of baroque keyboard tune and has been a version and suggestion for performers and composers ever because it used to be written. This consultant to the ninety six items explains Bach's a number of reasons in compiling the song, describes the wealthy traditions on which he drew, and offers commentaries for every prelude and fugue. In his textual content, David Ledbetter addresses the focal issues pointed out via Bach in his unique 1722 identify web page. Drawing on Bach literature during the last three hundred years, he explores German traditions of composition forms and Bach's novel enlargement of them; explains Bach's tools and thoughts in keyboard process within the basic context of early 18th-century advancements; stories instructive and theoretical literature in relation to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical motive while composing the "Well-Tempered Clavier". Ledbetter's commentaries on person preludes and fugues may still equip readers with the options essential to make their very own overview and comprise information regarding the assets while information of notation, adorns and fingerings have a concerning functionality.
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Additional info for Bach's Well-tempered Clavier: The 48 Preludes and Fugues
E. 4). The conscious restriction of compass to four octaves (C–c"') in Book I in itself argues for a general usability in line with the educational dimension of the word clavier. Although this compass is the commonest one in Bach’s keyboard works generally up to around 1726, there are numerous cases of its being exceeded in works either specifically for harpsichord (such as the Fifth Brandenburg Concerto, which in the 1721 version requires BB–c"') or more likely to be for harpsichord. There is as little standardisation in pieces as there is in surviving instruments.
The word grammar has a pejorative ring, at a great distance from the fully developed artist’s concerns of rhetoric and declamation, just as the basics of notation are at an infinite distance from the art of playing well (François Couperin 1717 Preface). Yet many Germans regarded the clavichord as having virtues in the formation of sensitivity of finger and ear beyond those of a mere functional keyboard. 19 Particularly after around 1700 there was a growing interest in it as an instrument in its own right.
Casting a subjective eye on the rest of the book, one might think of the preludes in D major, whose character contrasts in the opening bars seem to imply dynamic contrasts; F minor, another binary piece in a sonata idiom; G sharp minor, which has often been thought of as a candidate; and perhaps also the F sharp major Prelude and Fugue, whose prelude particularly has stretches of harmonic wash based on a quasi-Alberti figure which would respond very well to dynamic nuancing. It would be wrong, though, to cry pianoforte, or clavichord for that matter, at every piece featuring sensitive textures and appoggiaturas.