carmelo.paolucci wrote:Dear Friends,
With our hearts still full of the fireworks of the Prelude and Fugue n 15 in G major, today we meet in my adventure to discover the preludes and fugues of WTC1: the Prelude in G minor.
This prelude is of a contemplative, earnest mood (the tendency to repeated formations of an organ-point character should be noticed), and of a certain power of expression owing to the up-beat form which pervades the whole and in which the running demisemiquavers are brought, as it were, to a standstill against the semiquaver.
The structure with regard to key is as follows: — first period in G-minor with half-close (d+) at the 8th measure; the repeated after-section then modulates to Bb -major (parallel); the second period modulates to C-minor (under-dominant), and at the fourth measure makes a half, and at the eighth a full-close, which is confirmed (8 a). The third period returns by the nearest road to the principal key, and remains stationary, at the fourth measure, on a half-close (d7'), which is repeatedly confirmed; also the full-close of the eighth measure is confirmed by a supplementary one, with feminine ending, touching on the under-dominant.
I hope you like it, playing it was Fantastic for me!
Greetings from Italy
CarmeloMy actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0Dear carmelo! What I immediately notice here is your wonderful playing with trills, and legato in your left hand. Difficult this, especially, synchronizing the trill and accompanying legato. Super!
You've really advanced in your playing. As you said earlier,
you are improving after so many preludes and fugues, the control of the voices and the overall vision of the polyphonic discourse are improving.Yes, your playing is clear and good dynamics (soft lefthand piano about 0,57 and a bit forte right hand about 1,14) and good tempo.
And nowdays I’m listening to how people end a piece - good ending here because you are playing slower the last 20 seconds and soft piano and almost pp last chord. I like that ending! (budo often think what Stig might think about his endings!!
This time, in a nutshell:
You are playing as a talented pianist whose interpretation of Bach is soon beyond words.
Thank you for sharing this beautiful interpretation.Best wishes from a Finland where spring is gradually approaching, the snow is finally gone in Vaasa (Vasa).
Stig
I really thank you very much Stig, for your comment and support.... I didn't have much time to play last week because I was away for work.... But I am sure I will make up for it this week.... You know I see almost the end of this Bach marathon.... Beautiful this journey of discovery of WTC1. Spring is exploding flowers everywhere here, too, and the temperatures are getting milder.
Greetings from ITALY
Carmelo
Dear Friends,
With our hearts still full of the fireworks of the Prelude and Fugue n 15 in G major, today we meet in my adventure to discover the preludes and fugues of WTC1: the Prelude in G minor.
This prelude is of a contemplative, earnest mood (the tendency to repeated formations of an organ-point character should be noticed), and of a certain power of expression owing to the up-beat form which pervades the whole and in which the running demisemiquavers are brought, as it were, to a standstill against the semiquaver.
The structure with regard to key is as follows: — first period in G-minor with half-close (d+) at the 8th measure; the repeated after-section then modulates to Bb -major (parallel); the second period modulates to C-minor (under-dominant), and at the fourth measure makes a half, and at the eighth a full-close, which is confirmed (8 a). The third period returns by the nearest road to the principal key, and remains stationary, at the fourth measure, on a half-close (d7'), which is repeatedly confirmed; also the full-close of the eighth measure is confirmed by a supplementary one, with feminine ending, touching on the under-dominant.
I hope you like it, playing it was Fantastic for me!
Greetings from Italy
CarmeloMy actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0
Dear carmelo! What I immediately notice here is your wonderful playing with trills, and legato in your left hand. Difficult this, especially, synchronizing the trill and accompanying legato. Super!
You've really advanced in your playing. As you said earlier,
you are improving after so many preludes and fugues, the control of the voices and the overall vision of the polyphonic discourse are improving.
Yes, your playing is clear and good dynamics (soft lefthand piano about 0,57 and a bit forte right hand about 1,14) and good tempo.
And nowdays I’m listening to how people end a piece - good ending here because you are playing slower the last 20 seconds and soft piano and almost pp last chord. I like that ending! (budo often think what Stig might think about his endings!!
This time, in a nutshell:
You are playing as a talented pianist whose interpretation of Bach is soon beyond words.
Thank you for sharing this beautiful interpretation.
Best wishes from a Finland where spring is gradually approaching, the snow is finally gone in Vaasa (Vasa).
Stig
]]>With our hearts still full of the fireworks of the Prelude and Fugue n 15 in G major, today we meet in my adventure to discover the preludes and fugues of WTC1: the Prelude in G minor.
This prelude is of a contemplative, earnest mood (the tendency to repeated formations of an organ-point character should be noticed), and of a certain power of expression owing to the up-beat form which pervades the whole and in which the running demisemiquavers are brought, as it were, to a standstill against the semiquaver.
The structure with regard to key is as follows: — first period in G-minor with half-close (d+) at the 8th measure; the repeated after-section then modulates to Bb -major (parallel); the second period modulates to C-minor (under-dominant), and at the fourth measure makes a half, and at the eighth a full-close, which is confirmed (8 a). The third period returns by the nearest road to the principal key, and remains stationary, at the fourth measure, on a half-close (d7'), which is repeatedly confirmed; also the full-close of the eighth measure is confirmed by a supplementary one, with feminine ending, touching on the under-dominant.
I hope you like it, playing it was Fantastic for me!
Greetings from Italy
Carmelo
My actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0