New video Bach Fugue nr 19 in A Major BWV 864 WTC1

Dear Friends,

we have arrived at the key of A major in the Well-Tempered Clavier... As the prelude, if it is to produce its full effect, must be performed with good speed (the semiquaver figuration is flowing and easy to be understood), so the rendering of the Fugue n 19 must necessarily be a very quiet and expressive one, if it is not to become — according to the description of Debrois van Bruyck "an interesting mosaic" ("interessantes Kombinationsspiel"), "somew hat monotonous as to rhythm" ("rhythmisch ein wenig monoton"), "as if it were designed for a figured-bass exercise" ("als ob es auf eine Generalbassubung abgesehen ware"). Yes, indeed if nothing else can be discovered in the theme except rising fourths and falling thirds, then it does move up and down in bass fashion, and the continued quaver movement of the first half of the fugue may seem "somewhat monotonous".
But, in truth, this number is full of heartfelt feeling, and of almost touching naiveté — if only the rhythmical nature of the theme and the feminine endings of its several motives be properly recognized and understood.
How simple, how charming is this double putting forward of the tonic: the first quite plain, the second preceded by leading note and third (likewise the "overhanging 6th") and veering towards dominant; and how gently, amiably does the theme stretch out towards the fifth, and indeed to the octave, finally sinking submissively down to the third. The striking of the upper octave must not be confused with a pressing upwards towards it: the melodic annexations to the theme extend, on the whole, only to the sixth, i. e. remain quietly in one and the same tone region, and occupy a compass recognized by us as normal.
The elision of the unaccented beat of the first measure of each group constitutes a rhythmical peculiarity of the
theme, the continued order in triple form — accented
— unaccented — accented.
I tried to keep the voices as clear, limpid and transparent as possible. I hope you liked my choice.
Greetings from Italy !
Carmelo

My 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/EQYvH-XO7y8

carmelo.paolucci wrote:

Dear Friends,

we have arrived at the key of A major in the Well-Tempered Clavier... As the prelude, if it is to produce its full effect, must be performed with good speed (the semiquaver figuration is flowing and easy to be understood), so the rendering of the Fugue n 19 must necessarily be a very quiet and expressive one, if it is not to become — according to the description of Debrois van Bruyck "an interesting mosaic" ("interessantes Kombinationsspiel"), "somew hat monotonous as to rhythm" ("rhythmisch ein wenig monoton"), "as if it were designed for a figured-bass exercise" ("als ob es auf eine Generalbassubung abgesehen ware"). Yes, indeed if nothing else can be discovered in the theme except rising fourths and falling thirds, then it does move up and down in bass fashion, and the continued quaver movement of the first half of the fugue may seem "somewhat monotonous".
But, in truth, this number is full of heartfelt feeling, and of almost touching naiveté — if only the rhythmical nature of the theme and the feminine endings of its several motives be properly recognized and understood.
How simple, how charming is this double putting forward of the tonic: the first quite plain, the second preceded by leading note and third (likewise the "overhanging 6th") and veering towards dominant; and how gently, amiably does the theme stretch out towards the fifth, and indeed to the octave, finally sinking submissively down to the third. The striking of the upper octave must not be confused with a pressing upwards towards it: the melodic annexations to the theme extend, on the whole, only to the sixth, i. e. remain quietly in one and the same tone region, and occupy a compass recognized by us as normal.
The elision of the unaccented beat of the first measure of each group constitutes a rhythmical peculiarity of the
theme, the continued order in triple form — accented
— unaccented — accented.
I tried to keep the voices as clear, limpid and transparent as possible. I hope you liked my choice.
Greetings from Italy !
Carmelo

My 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/EQYvH-XO7y8

Bravo carmelo! When I listen to your interpretation it makes the music come to life so detailed in my mind. At about 0,19 the left hand coming so clearly. The voices!
carmelo, you performed again with great skill and precision.
Thank you!

Waiting for next.

Best wishes,

Stig