carmelo.paolucci wrote:Dear Friends,
We continue our journey to discover WTC1, we are now almost at the end of this long but exciting journey....
Today we meet a really, healthy piece without subtleties or mystifications of any kind in the brilliant key of B flat major. If when compared with C, the key of B flat is more satisfying, fuller than that of F (it is the most distant key on the flat side which can only be explained by fifth relationship), Bach has certainly intensified that eflect, and in a marked manner, by the character of the themes, which he selected for these pieces, This prelude, has something of organ dignity about it: even of the principal motive (commencement): that can be said (the zig-zag movement of the bass part leads one to the conclusion that it was thought out pedaliter; but still more do the episodical running passages for one voice appear as if they were borrowed from a Bach organ toccata and the second half of the piece with its full organ effects.
In spite of the loose, almost phantastic character of the construction, it is easy to understand (the first section works up to the upper-dominant [F]; the second, with frequent allusion to the under-dominant, firmly reestablishes the key).
Enjoy your listening.My actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0BRAVO !
Thank you so much for your comment and support Arno !!!!
Greetings from Italy
Carmelo
Dear Friends,
We continue our journey to discover WTC1, we are now almost at the end of this long but exciting journey....
Today we meet a really, healthy piece without subtleties or mystifications of any kind in the brilliant key of B flat major. If when compared with C, the key of B flat is more satisfying, fuller than that of F (it is the most distant key on the flat side which can only be explained by fifth relationship), Bach has certainly intensified that eflect, and in a marked manner, by the character of the themes, which he selected for these pieces, This prelude, has something of organ dignity about it: even of the principal motive (commencement): that can be said (the zig-zag movement of the bass part leads one to the conclusion that it was thought out pedaliter; but still more do the episodical running passages for one voice appear as if they were borrowed from a Bach organ toccata and the second half of the piece with its full organ effects.
In spite of the loose, almost phantastic character of the construction, it is easy to understand (the first section works up to the upper-dominant [F]; the second, with frequent allusion to the under-dominant, firmly reestablishes the key).
Enjoy your listening.My actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0
BRAVO !
]]>bellissima prestazione Carmelo!
Grazie mille Budo !
Sono davvero felice ti sia piaciuto il mio video!
Hi Carmelo,
I always hear beautiful recordings from you. You go to a lot of trouble. I think it takes a few attempts to make such beautiful music recordings.
Best regards
J. UnruhTranslated DeepL
Dear Unruh,
You are right, there is a lot of work for each recording, the pieces I play are difficult and often you make a mistake and you have to do it all over again... But God, what wonderful music! Bach repays every effort you make to study it!!!
Thanks for your comment and your support!
Greetings from Italy
Carmelo
carmelo.paolucci wrote:Dear Friends,
We continue our journey to discover WTC1, we are now almost at the end of this long but exciting journey....
Today we meet a really, healthy piece without subtleties or mystifications of any kind in the brilliant key of B flat major. If when compared with C, the key of B flat is more satisfying, fuller than that of F (it is the most distant key on the flat side which can only be explained by fifth relationship), Bach has certainly intensified that eflect, and in a marked manner, by the character of the themes, which he selected for these pieces, This prelude, has something of organ dignity about it: even of the principal motive (commencement): that can be said (the zig-zag movement of the bass part leads one to the conclusion that it was thought out pedaliter; but still more do the episodical running passages for one voice appear as if they were borrowed from a Bach organ toccata and the second half of the piece with its full organ effects.
In spite of the loose, almost phantastic character of the construction, it is easy to understand (the first section works up to the upper-dominant [F]; the second, with frequent allusion to the under-dominant, firmly reestablishes the key).
Enjoy your listening.My actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0Ah carmelo! The way you play this piece is phenomenal. Now it’s like you were born to play Bach. Absolutely beautiful. Just want to enjoy listening. Might be that this is harder to play than the fugue?
I really like this WTC series, and enjoy listening to you every time.
I wish you strength and inspiration to play what is left.
And I'm so glad you found this forumWish you all the best
Stig
Thank you so much for your comment and your support Stig !
That's a real masterpiece I was really happy to studied it and to played again, as well as I'm really happy you liked my video.
The goal is now approaching, I really feel the top of the WTC is close .... Just one last effort. It has been a really beautiful adventure so far!
Greetings from Italy
Carmelo
Translated DeepL
]]>Dear Friends,
We continue our journey to discover WTC1, we are now almost at the end of this long but exciting journey....
Today we meet a really, healthy piece without subtleties or mystifications of any kind in the brilliant key of B flat major. If when compared with C, the key of B flat is more satisfying, fuller than that of F (it is the most distant key on the flat side which can only be explained by fifth relationship), Bach has certainly intensified that eflect, and in a marked manner, by the character of the themes, which he selected for these pieces, This prelude, has something of organ dignity about it: even of the principal motive (commencement): that can be said (the zig-zag movement of the bass part leads one to the conclusion that it was thought out pedaliter; but still more do the episodical running passages for one voice appear as if they were borrowed from a Bach organ toccata and the second half of the piece with its full organ effects.
In spite of the loose, almost phantastic character of the construction, it is easy to understand (the first section works up to the upper-dominant [F]; the second, with frequent allusion to the under-dominant, firmly reestablishes the key).
Enjoy your listening.My actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0
Ah carmelo! The way you play this piece is phenomenal. Now it’s like you were born to play Bach. Absolutely beautiful. Just want to enjoy listening. Might be that this is harder to play than the fugue?
I really like this WTC series, and enjoy listening to you every time.
I wish you strength and inspiration to play what is left.
And I'm so glad you found this forum
Wish you all the best
Stig
]]>We continue our journey to discover WTC1, we are now almost at the end of this long but exciting journey....
Today we meet a really, healthy piece without subtleties or mystifications of any kind in the brilliant key of B flat major. If when compared with C, the key of B flat is more satisfying, fuller than that of F (it is the most distant key on the flat side which can only be explained by fifth relationship), Bach has certainly intensified that eflect, and in a marked manner, by the character of the themes, which he selected for these pieces, This prelude, has something of organ dignity about it: even of the principal motive (commencement): that can be said (the zig-zag movement of the bass part leads one to the conclusion that it was thought out pedaliter; but still more do the episodical running passages for one voice appear as if they were borrowed from a Bach organ toccata and the second half of the piece with its full organ effects.
In spite of the loose, almost phantastic character of the construction, it is easy to understand (the first section works up to the upper-dominant [F]; the second, with frequent allusion to the under-dominant, firmly reestablishes the key).
Enjoy your listening.
My actual setting is:
Played on Yamaha P125 piano stage Video Recording Samsung Galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 8.4.0