Thank you Carmelo for this wonderful and relxing Prelude.
It's one of those pieces where we can really breathe out and relax, and you captured that very well in your own way.

Thank you so much for your comment Andreas ! I really liked to study and to record this wonderful Prelude by Bach.
Greetings from Italy
Carmelo

Hello Carmelo,
As so often, you have posted a wonderful sound recording. It is always a pleasure to listen to this music.

Many thanks and all the best
J. Unruh

Translated DeepL

Ciao Unruh !
Thank you very much for your comment! I really love Bach's music and I'm really happy that you liked this little video of mine.
Greetings from Italy
Carmelo

carmelo.paolucci wrote:

Dear Friends,
Today I publish this video recorded a few days ago from Valencia (Spain). We meet in our journey in WTC1 the Prelude 19 in A Major BWV 864.
This piece  is a fresh healthy life pulsates. Only he, who cannot see the wood for the trees, will complain of school dust in them. The prelude strictly in three voices,deals with double counterpoint in the octave in a light and graceful manner of which, surely, only the master possessed the secret. The thematic material of the first period (beginning with the second [accented] group, i. e. without first and second measures) returns, in the course of the piece, no fewer than five times, with four different combinations of voices.
The second follows immediately after the first (with elision of the first group); between the 2nd and 3rd is inserted a free half period in which the under voice continues the running semiquaver figure of a while the two other voices introduce the syncopated motive contracted, and with third -doubling; and between 3rd and 4th there is only an improved close of two measures (7 a—8 a). The episode which unfolds itself between the 4th and 5th has a scale progression of semiquavers divided between the two under voices, while the upper voice remains firm to the syncopated motive; the half close of the 4th measure (on e+) is turned into an added group (3 a—4 a) shaping itself into a full- close, which however is prevented by the entry of combination 5 (4a = 3). The 6th follows immediately on the 5th, and lastly come two close-confirmations each of two measures: first, with the upper voice and lower voice in contrary motion, and in semiquavers (motive a), and finally with a quiet cadence and with addition of 3rd voice.
I hope you liked it  & Greetings from Spain !

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/CR6qC0vy0nw

Perfect tempo to my taste! You are a very valuable forum member for those of us who love Bach’s music. Thank you dear carmelo.
Wonderful performance again, as always. I can’t go into details, it is simply exellent.

Best wishes,

Stig

Thank you so much Stig for your comment and support !!!
Step by step I am improving in my performances on Bach pieces. It is really a fantastic music to play and to listen to and share with my friends.
Greetings from Italy!
Carmelo

Many thanks and all the best
J. Unruh

Translated DeepL

Dear Friends,
Today I publish this video recorded a few days ago from Valencia (Spain). We meet in our journey in WTC1 the Prelude 19 in A Major BWV 864.
This piece  is a fresh healthy life pulsates. Only he, who cannot see the wood for the trees, will complain of school dust in them. The prelude strictly in three voices,deals with double counterpoint in the octave in a light and graceful manner of which, surely, only the master possessed the secret. The thematic material of the first period (beginning with the second [accented] group, i. e. without first and second measures) returns, in the course of the piece, no fewer than five times, with four different combinations of voices.
The second follows immediately after the first (with elision of the first group); between the 2nd and 3rd is inserted a free half period in which the under voice continues the running semiquaver figure of a while the two other voices introduce the syncopated motive contracted, and with third -doubling; and between 3rd and 4th there is only an improved close of two measures (7 a—8 a). The episode which unfolds itself between the 4th and 5th has a scale progression of semiquavers divided between the two under voices, while the upper voice remains firm to the syncopated motive; the half close of the 4th measure (on e+) is turned into an added group (3 a—4 a) shaping itself into a full- close, which however is prevented by the entry of combination 5 (4a = 3). The 6th follows immediately on the 5th, and lastly come two close-confirmations each of two measures: first, with the upper voice and lower voice in contrary motion, and in semiquavers (motive a), and finally with a quiet cadence and with addition of 3rd voice.
I hope you liked it  & Greetings from Spain !

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/CR6qC0vy0nw

Perfect tempo to my taste! You are a very valuable forum member for those of us who love Bach’s music. Thank you dear carmelo.
Wonderful performance again, as always. I can’t go into details, it is simply exellent.

Best wishes,

Stig

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/CR6qC0vy0nw