Nev video Bach Fugue n 17 in A flat Major Pianoteq BWV 862

Dear Friends,

Today the discovery of Bach's Well-Tempered Clavier takes us into the key of A flat major. The tonality of A Major is very clear, light, peaceful, the beginning of the theme vaguely recalls the sound of far bells.
Bach Fugue n 17 BWV 862 is remarkable in that it has no real count subject, although here canonic conduct of the theme does not, as in the C-major fugue, appear to render the same indispensable. It may be pretty safely assumed that the brevity of the theme and its frequent recurrence induced Bach constantly to change the counterpoint instead of adhering to one fixed form; anyhow, just as smooth quaver movement is the special characteristic of the theme subject to variation of every kind, so smooth semiquaver movement in scale form is the common feature of the counterpoint opposed to it. The theme of two measures is of chord nature, and remains quietly in the principal key; the answer must therefore modulate from tonic harmony to the key of the dominant, whereby the Comes assumes a shape differing in a marked manner from the Dux.
If the motive material of the whole fugue be compared with this first period of 8 measures, it will be seen that nothing new is afterwards introduced. But how wonderfully does Bach make varied use of the motives here marked off by slurs, now spreading them out in form of sequence, now inverting them, or advancing them one crotchet in the measure, or dividing them between two voices, etc.! The syncopated motive assumes great importance, first in the episodes, but finally, also, as counterpoint to the theme-, c is really the only repetition at all faithful of the first countersubject (but without theme entry). The theme as at b is frequently employed in the interludes, but as a real theme it appears no fewer than fourteen times, and, later on, in a form which does not exactly correspond either with Dux or Comes (it has the opening skip of the fourth of the Comes, followed by the third of the Dux). I hope you liked it !

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/ucUWF_Ro6_A

Dear Friends,

Today the discovery of Bach's Well-Tempered Clavier takes us into the key of A flat major. The tonality of A Major is very clear, light, peaceful, the beginning of the theme vaguely recalls the sound of far bells.
Bach Fugue n 17 BWV 862 is remarkable in that it has no real count subject, although here canonic conduct of the theme does not, as in the C-major fugue, appear to render the same indispensable. It may be pretty safely assumed that the brevity of the theme and its frequent recurrence induced Bach constantly to change the counterpoint instead of adhering to one fixed form; anyhow, just as smooth quaver movement is the special characteristic of the theme subject to variation of every kind, so smooth semiquaver movement in scale form is the common feature of the counterpoint opposed to it. The theme of two measures is of chord nature, and remains quietly in the principal key; the answer must therefore modulate from tonic harmony to the key of the dominant, whereby the Comes assumes a shape differing in a marked manner from the Dux.
If the motive material of the whole fugue be compared with this first period of 8 measures, it will be seen that nothing new is afterwards introduced. But how wonderfully does Bach make varied use of the motives here marked off by slurs, now spreading them out in form of sequence, now inverting them, or advancing them one crotchet in the measure, or dividing them between two voices, etc.! The syncopated motive assumes great importance, first in the episodes, but finally, also, as counterpoint to the theme-, c is really the only repetition at all faithful of the first countersubject (but without theme entry). The theme as at b is frequently employed in the interludes, but as a real theme it appears no fewer than fourteen times, and, later on, in a form which does not exactly correspond either with Dux or Comes (it has the opening skip of the fourth of the Comes, followed by the third of the Dux). I hope you liked it !

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/ucUWF_Ro6_A

Excellence in touch and dedicated concentration.

You are able to bring out the theme in your right hand with ease and the notes rise above the texture like bells - beautifully executed, dear Carmelo. The left hand is not so easy on the modern piano to do the same especially when the theme is just a third above the other notes, this is not a criticism just how the instrument is challenging. On the harpsichord this problem is not so apparent, so we pianists need to work that much harder to achieve clarity in the bass and tenor lines in contrapuntal playing.

Your playing has improved and you must be happy with your obvious progress? You truly are a joy to listen to and your shared journey has been a delight, already you are are nearing the end, Well done !!!