Topic by carmelo.paolucci

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Topic: Bach Fugue n 15 in G Major BWV 860 Pianoteq

Dear Friends
After meeting one of the most brilliant and joyful prelude of the collection. Today we see the relative fugue which retains all its cheerful and brilliant character.
The Fugue (à 3) carries on a truly jesting game witha somewhat long and  prolix theme, which, first of all, rolls upward in merry circular movement from the fundamental note to the third degree, and then, with wanton leaps from the under-fourth and under-leading-note, extends beyond the fifth.
The countersubject opposed to it first runs down to the third of the dominant, then, so long as the Comes which is only a transposition of the Dux in the fifth moves in a circle, proceeds leisurely in quavers, but afterwards rolls upward in lively fashion to the octave.
Three free measures inserted between the second and third entries of the theme introduce a fresh motive, which afterwards attains to considerable importance (movement by degrees with a note always sounding betwixt and between)
Nearly the whole of the material which serves for the working out of this fugue has now been shown (all the motives are combined in all sorts of ways, and also treated in inversion).
In the exposition the theme appears in the three voices (soprano, alto, bass), during which, it naturally occurs in the dominant key (Comes), but concludes in the principal one, to which the transition to the second development
adheres. This also remains in the principal key: here we have the theme in inversion accompanied by the countersubject in inversion, worked out in the following order: — alto (Dux [beginning on d]), soprano (Comes (beginning on a), bass (Dux), and, indeed, without any connecting bars thrown in. Thus the first section forming the basis comes to a close.
The second (modulating) section begins with an episode of six measures, which, passing through A-minor, modulates to E-minor (parallel): in its second half it has only two voices (the alto ceases). The next development is incomplete; the theme first occurs in the soprano in the key of E-minor, and is only accompanied in its second half by the counter-subject; then follows the inversion (likewise in E-minor, but from g) accompanied by the countersubject in the soprano, whereupon comes a fresh episode
effecting modulation to B-minor (parallel of the dominant 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/lYbTpp-X96Q

Last edited by carmelo.paolucci (21-03-2025 09:39)

Reply by Pianoteqenthusiast

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Re: Bach Fugue n 15 in G Major BWV 860 Pianoteq

carmelo.paolucci wrote:

Dear Friends
After meeting one of the most brilliant and joyful prelude of the collection. Today we see the relative fugue which retains all its cheerful and brilliant character.
The Fugue (à 3) carries on a truly jesting game witha somewhat long and  prolix theme, which, first of all, rolls upward in merry circular movement from the fundamental note to the third degree, and then, with wanton leaps from the under-fourth and under-leading-note, extends beyond the fifth.
The countersubject opposed to it first runs down to the third of the dominant, then, so long as the Comes which is only a transposition of the Dux in the fifth moves in a circle, proceeds leisurely in quavers, but afterwards rolls upward in lively fashion to the octave.
Three free measures inserted between the second and third entries of the theme introduce a fresh motive, which afterwards attains to considerable importance (movement by degrees with a note always sounding betwixt and between)
Nearly the whole of the material which serves for the working out of this fugue has now been shown (all the motives are combined in all sorts of ways, and also treated in inversion).
In the exposition the theme appears in the three voices (soprano, alto, bass), during which, it naturally occurs in the dominant key (Comes), but concludes in the principal one, to which the transition to the second development
adheres. This also remains in the principal key: here we have the theme in inversion accompanied by the countersubject in inversion, worked out in the following order: — alto (Dux [beginning on d]), soprano (Comes (beginning on a), bass (Dux), and, indeed, without any connecting bars thrown in. Thus the first section forming the basis comes to a close.
The second (modulating) section begins with an episode of six measures, which, passing through A-minor, modulates to E-minor (parallel): in its second half it has only two voices (the alto ceases). The next development is incomplete; the theme first occurs in the soprano in the key of E-minor, and is only accompanied in its second half by the counter-subject; then follows the inversion (likewise in E-minor, but from g) accompanied by the countersubject in the soprano, whereupon comes a fresh episode
effecting modulation to B-minor (parallel of the dominant 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/lYbTpp-X96Q

Very impressive!  And a joyful atmosphere you brought to this  fugue carmelo.
And at the 4 last measures, left hand, nice bass line and then coming theme to a conclusion. I followed on the sheet.

You are  unique, my favorite.
Happy listening, yes, always.

Thanks again carmelo for good description. I have never knew these things.

Best wishes,

Stig

Last edited by Pianoteqenthusiast (21-03-2025 16:58)

Reply by carmelo.paolucci

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Re: Bach Fugue n 15 in G Major BWV 860 Pianoteq

Pianoteqenthusiast wrote:
carmelo.paolucci wrote:

Dear Friends
After meeting one of the most brilliant and joyful prelude of the collection. Today we see the relative fugue which retains all its cheerful and brilliant character.
The Fugue (à 3) carries on a truly jesting game witha somewhat long and  prolix theme, which, first of all, rolls upward in merry circular movement from the fundamental note to the third degree, and then, with wanton leaps from the under-fourth and under-leading-note, extends beyond the fifth.
The countersubject opposed to it first runs down to the third of the dominant, then, so long as the Comes which is only a transposition of the Dux in the fifth moves in a circle, proceeds leisurely in quavers, but afterwards rolls upward in lively fashion to the octave.
Three free measures inserted between the second and third entries of the theme introduce a fresh motive, which afterwards attains to considerable importance (movement by degrees with a note always sounding betwixt and between)
Nearly the whole of the material which serves for the working out of this fugue has now been shown (all the motives are combined in all sorts of ways, and also treated in inversion).
In the exposition the theme appears in the three voices (soprano, alto, bass), during which, it naturally occurs in the dominant key (Comes), but concludes in the principal one, to which the transition to the second development
adheres. This also remains in the principal key: here we have the theme in inversion accompanied by the countersubject in inversion, worked out in the following order: — alto (Dux [beginning on d]), soprano (Comes (beginning on a), bass (Dux), and, indeed, without any connecting bars thrown in. Thus the first section forming the basis comes to a close.
The second (modulating) section begins with an episode of six measures, which, passing through A-minor, modulates to E-minor (parallel): in its second half it has only two voices (the alto ceases). The next development is incomplete; the theme first occurs in the soprano in the key of E-minor, and is only accompanied in its second half by the counter-subject; then follows the inversion (likewise in E-minor, but from g) accompanied by the countersubject in the soprano, whereupon comes a fresh episode
effecting modulation to B-minor (parallel of the dominant 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/lYbTpp-X96Q

Very impressive!  And a joyful atmosphere you brought to this  fugue carmelo.
And at the 4 last measures, left hand, nice bass line and then coming theme to a conclusion. I followed on the sheet.

You are  unique, my favorite.
Happy listening, yes, always.

Thanks again carmelo for good description. I have never knew these things.

Best wishes,

Stig

Thank you so much for your comments and support Stig !
I'm really happy you've liked this Fugue. I've studied it hard and, in my opinion, it is one of the ones that I have played best, most suited to my way of playing.
Thank you again and Greetings from Italy!
Carmelo

Reply by DEZ

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Re: Bach Fugue n 15 in G Major BWV 860 Pianoteq

carmelo.paolucci wrote:

Dear Friends
After meeting one of the most brilliant and joyful prelude of the collection. Today we see the relative fugue which retains all its cheerful and brilliant character.

I have two words for you...

  • WONDERFUL

    Good touch and understanding of the compositional structure and where the various voices need to be emphasised as they make their 'grand' entrances. Well-balanced dynamics overall just the occasional boisterous entry, but nothing too serious to warrant re-examination. The listening experience was a joy to experience - well done! You're getting ever-closer to the end of your mammoth task and by attempting it we can clearly hear the technical improvements in your playing; the trills especially.

  • RELAX

    I can hear how you start to tense up when a difficult passage approaches - DON'T. You are more than capable of fine execution. Let the music flow, it's not a battle - it's a voyage of pure delight and discovery.

As I said before - Well done!!!

Reply by carmelo.paolucci

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Re: Bach Fugue n 15 in G Major BWV 860 Pianoteq

DEZ wrote:
carmelo.paolucci wrote:

Dear Friends
After meeting one of the most brilliant and joyful prelude of the collection. Today we see the relative fugue which retains all its cheerful and brilliant character.

I have two words for you...

  • WONDERFUL

    Good touch and understanding of the compositional structure and where the various voices need to be emphasised as they make their 'grand' entrances. Well-balanced dynamics overall just the occasional boisterous entry, but nothing too serious to warrant re-examination. The listening experience was a joy to experience - well done! You're getting ever-closer to the end of your mammoth task and by attempting it we can clearly hear the technical improvements in your playing; the trills especially.

  • RELAX

    I can hear how you start to tense up when a difficult passage approaches - DON'T. You are more than capable of fine execution. Let the music flow, it's not a battle - it's a voyage of pure delight and discovery.

As I said before - Well done!!!

Dear DEZ,

Thank you so much for your comment and your analysis that I know is always frank and sincere for better or for worse.
You are right, I feel that little by little I am improving after so many preludes and fugues, the control of the voices and the overall vision of the polyphonic discourse are improving.
You are right again when I tend to stiffen in the challenging passages, perhaps it is due to the fact that I study the pieces very quickly and you never have much time to let them fully enter your fingers... But you will see that by working on them I will improve there too!
Thank you again and I hope you like the Prelude n 16 from WTC1 that I just published.
Greetings from Italy
Carmelo