Dear Friends,

Today in our journey to discover the wonders of WTC1 we meet one of the most intricate and complicated fugues to perform, or at least the most difficult to render on the piano encountered so far...
The fugue has a radically different character respect its prelude: a slow, rising three-note figure creeps in, repeats with shorter note values after a pause, and gradually forms a more elaborate, stately theme. Bach makes excellent use of those rests in the principal subject, for when the theme enters in the second and third voices, the countersubject gets underway only at the beginning of the first rest, and the listener can discern the separate voices at play more readily than in some of Bach's busier, non-stop fugal subjects.
I won't go into further harmonic analysis of the piece, as I have done in the past. I hope you like it.
Happy listening and Greetings from Italy

My actual setting is:

Played on Yamaha P125 piano stage                                          Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0

https://youtu.be/QSf-jZIavJg

carmelo, you are a good Bach performer. A splendid performance as usual. I like the tempo and your uninterrupted playing is continuous and peaceful.  You get the music live with your ”flow” (I like tto use that word). Like water in a stream. I think the piece is a bit melancholic and you capture that character of this piece convincing. Thank you carmelo.
And thanks again for the description.

Best wishes,

Stig

Today in our journey to discover the wonders of WTC1 we meet one of the most intricate and complicated fugues to perform, or at least the most difficult to render on the piano encountered so far...
The fugue has a radically different character respect its prelude: a slow, rising three-note figure creeps in, repeats with shorter note values after a pause, and gradually forms a more elaborate, stately theme. Bach makes excellent use of those rests in the principal subject, for when the theme enters in the second and third voices, the countersubject gets underway only at the beginning of the first rest, and the listener can discern the separate voices at play more readily than in some of Bach's busier, non-stop fugal subjects.
I won't go into further harmonic analysis of the piece, as I have done in the past. I hope you like it.
Happy listening and Greetings from Italy

My actual setting is:

Played on Yamaha P125 piano stage                                          Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0

https://youtu.be/QSf-jZIavJg