New Bach Video Fugue n 22 in B-Flat minor BWV 867 WTC1

carmelo.paolucci wrote:

Dear Friends,

This week, on our journey to discover WTC1, we meet the Prelude and Fugue in B flat minor.
Bach Fugue n 22 in B Flat minor BWV 867 (à 5) bears the same earnest stamp, but treats measure and metre with greater freedom almost than any other piece in the "Well -tempered Clavier" (and that is saying much). In my edition of the work I have attempted fully to expound the metrical contents; and this has resulted in a frequent change from 4/2 and '3/2 to 3/1 measure, which last finally prevails.
As in the C minor  Fugue (I. 2.) 3/2 measure appears twice in episode; 3/1 measure arises through enrichment of the theme. If we consider as beyond dispute the fact that the situation of a theme in a bar (its metrical nature) constitutes a special element of its essence, it follows that an intelligent interpreter will always seek for, and find its points of stress in the same place; this is especially true in the fugue under notice, of the first minim of the theme, which, without doubt, bears the stronger accent; and indeed in Bach's notation, with exception of two strettos, it always appears at the beginning of the measure in C-time, strictly maintained throughout.
But also for certain close-formations, which signify specialpoints of rest of    the tone movement, we demand absolute definite metrical relationship (point of stress of an accented measure [4., 8]). Occasional effects resulting from conflicting demands must be thoroughly grasped if one wishes to have firm points of support in interpreting the piece.
The theme descends solemnly from the tonic to the dominant, then leaps upward as far as the upper sixth of the tonic, only to fall down from it to the third, and afterwards rise from the second to the fifth.

occasionally combined with its inversion.

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

https://youtu.be/vdfvJHhpM98

This fugue (and prelude) is  beautiful. I think the prelude could be in a funeral…as I got moved last time.
And here great sensitivity of you enjoying every note. Perfect tempo and playing. I really like this one too.
But what were Bach thinking about 2,54 or somewhere there from…subject in canon with itself with  all voices.. or am I wrong…? Tried too see in the sheet….I probably  here something that isn’t there….(well, I'm a bit tired, so hot in Finland now for 3 weeks, 29 Celcius here in Vasa Finland. Unusually long period).

And as always - I love your looong ending chord, that always slowly fades away. Nice.
Thank you carmelo!

Best wishes,

Stig

Dear Friends,

This week, on our journey to discover WTC1, we meet the Prelude and Fugue in B flat minor.
Bach Fugue n 22 in B Flat minor BWV 867 (à 5) bears the same earnest stamp, but treats measure and metre with greater freedom almost than any other piece in the "Well -tempered Clavier" (and that is saying much). In my edition of the work I have attempted fully to expound the metrical contents; and this has resulted in a frequent change from 4/2 and '3/2 to 3/1 measure, which last finally prevails.
As in the C minor  Fugue (I. 2.) 3/2 measure appears twice in episode; 3/1 measure arises through enrichment of the theme. If we consider as beyond dispute the fact that the situation of a theme in a bar (its metrical nature) constitutes a special element of its essence, it follows that an intelligent interpreter will always seek for, and find its points of stress in the same place; this is especially true in the fugue under notice, of the first minim of the theme, which, without doubt, bears the stronger accent; and indeed in Bach's notation, with exception of two strettos, it always appears at the beginning of the measure in C-time, strictly maintained throughout.
But also for certain close-formations, which signify specialpoints of rest of    the tone movement, we demand absolute definite metrical relationship (point of stress of an accented measure [4., 8]). Occasional effects resulting from conflicting demands must be thoroughly grasped if one wishes to have firm points of support in interpreting the piece.
The theme descends solemnly from the tonic to the dominant, then leaps upward as far as the upper sixth of the tonic, only to fall down from it to the third, and afterwards rise from the second to the fifth.

occasionally combined with its inversion.

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

https://youtu.be/vdfvJHhpM98

carmelo.paolucci wrote:

Borealis wrote:

Nice ! Yes, your tempo is right. And again, I think your rendition would be better with a better controller. Thanks !

Thank you very much for your comment, Borealis, but what do you mean with "a controller"? What can I do to improve my videos? Which controller you suggest useful for me ?
Thank you in advance for your help.
Greetings from Italy
Carmelo

I meant a keyboard with a better response for a better pianistic feel. I think you deserve it. As concerns the model, it's up to you and it depends on the budget, of course.

Regards