Wow!

What a wonderful performance! I loved how you called out the various voices across the piece, and I'm a sucker whenever the bass comes out to play. Your tempo & touch here are very nice indeed, and I had a smile for the entire duration.

This is definitely a favorite!!!

Thank you very much Kerri for your comment! I'm really happy you liked my video... Bach's music is really Fantastic!!!!!
Carmelo

What a wonderful performance! I loved how you called out the various voices across the piece, and I'm a sucker whenever the bass comes out to play. Your tempo & touch here are very nice indeed, and I had a smile for the entire duration.

This is definitely a favorite!!!

carmelo.paolucci wrote:

Dear Friends,

Today in our journey to discover the wonders of WTC1 we meet one of the most we encounter one of the most brilliant and joyful preludes of the collection.
The prelude has throughout gay semiquaver -triplet -figuration, while the fugue, in most lively 6/8 time, runs its course for the most part in smooth semiquaver motion. The tempo  is somewhat rapid, the character throughout one of untroubled joy, of lively enjoyment. Was Bach reallv conscious of the fact that the prelude in G-major was related to the one in C# major ? There is certainly not such glowing heat here as there: it is not midsummer, but spring, young fresh spring (it should also be compared with the preludes in E and F); but, as there, so here, we meet with the same sensible, thoughtful human being who revels in the enjoyment of nature. The slender arpeggio motive of the first measures recalls the prelude in E-major but already the close of the first little period with its persistent c#—d carries us back to the prelude in C# major and with good reason, for an old friend, reclining amidst the tall grass, is gazing at us in the C- sharp prelude. And now let each see for himself whether he does not discover many other kindred features (the octave leaps of the lower voice, and especially the whole jugglery of the light-winged figuration); only here everything is more precipitate, more impulsive, springing - forth, fluttering and bounding: it is, in fact, youthful spring!
The piece requires no analysis; the harmonies are as clear as daylight, and the order of keys is normal (principal key, dominant, parallel, dominant, under-dominant, principal key).
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/IdaMvDhmgWM

carmelo, awesome, you rock! Perfectly played.  This is the best one so far. It is.

You dominate strongly this music, because it is as firework goes of. As a rocket!!  Still with an ease and flow, the 16th notes.(i like that word flow). And - perfectly controlled keystrokes, how is it possible to play this so fast……carmelo can do it.
It was really ”happy listening”, yes.

Thank you carmelo!

Best wishes,

Stig

Thank you so much Stig!
I'm really happy that you liked this Prelude... you're right: it's really beautiful and particularly suited to my way of playing today...
Thanks for your support.
Greetings from Italy!
Carmelo

Dear Friends,

Today in our journey to discover the wonders of WTC1 we meet one of the most we encounter one of the most brilliant and joyful preludes of the collection.
The prelude has throughout gay semiquaver -triplet -figuration, while the fugue, in most lively 6/8 time, runs its course for the most part in smooth semiquaver motion. The tempo  is somewhat rapid, the character throughout one of untroubled joy, of lively enjoyment. Was Bach reallv conscious of the fact that the prelude in G-major was related to the one in C# major ? There is certainly not such glowing heat here as there: it is not midsummer, but spring, young fresh spring (it should also be compared with the preludes in E and F); but, as there, so here, we meet with the same sensible, thoughtful human being who revels in the enjoyment of nature. The slender arpeggio motive of the first measures recalls the prelude in E-major but already the close of the first little period with its persistent c#—d carries us back to the prelude in C# major and with good reason, for an old friend, reclining amidst the tall grass, is gazing at us in the C- sharp prelude. And now let each see for himself whether he does not discover many other kindred features (the octave leaps of the lower voice, and especially the whole jugglery of the light-winged figuration); only here everything is more precipitate, more impulsive, springing - forth, fluttering and bounding: it is, in fact, youthful spring!
The piece requires no analysis; the harmonies are as clear as daylight, and the order of keys is normal (principal key, dominant, parallel, dominant, under-dominant, principal key).
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/IdaMvDhmgWM

carmelo, awesome, you rock! Perfectly played.  This is the best one so far. It is.

You dominate strongly this music, because it is as firework goes of. As a rocket!!  Still with an ease and flow, the 16th notes.(i like that word flow). And - perfectly controlled keystrokes, how is it possible to play this so fast……carmelo can do it.
It was really ”happy listening”, yes.

Thank you carmelo!

Best wishes,

Stig

Today in our journey to discover the wonders of WTC1 we meet one of the most we encounter one of the most brilliant and joyful preludes of the collection.
The prelude has throughout gay semiquaver -triplet -figuration, while the fugue, in most lively 6/8 time, runs its course for the most part in smooth semiquaver motion. The tempo  is somewhat rapid, the character throughout one of untroubled joy, of lively enjoyment. Was Bach reallv conscious of the fact that the prelude in G-major was related to the one in C# major ? There is certainly not such glowing heat here as there: it is not midsummer, but spring, young fresh spring (it should also be compared with the preludes in E and F); but, as there, so here, we meet with the same sensible, thoughtful human being who revels in the enjoyment of nature. The slender arpeggio motive of the first measures recalls the prelude in E-major but already the close of the first little period with its persistent c#—d carries us back to the prelude in C# major and with good reason, for an old friend, reclining amidst the tall grass, is gazing at us in the C- sharp prelude. And now let each see for himself whether he does not discover many other kindred features (the octave leaps of the lower voice, and especially the whole jugglery of the light-winged figuration); only here everything is more precipitate, more impulsive, springing - forth, fluttering and bounding: it is, in fact, youthful spring!
The piece requires no analysis; the harmonies are as clear as daylight, and the order of keys is normal (principal key, dominant, parallel, dominant, under-dominant, principal key).
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/IdaMvDhmgWM