Nev video Bach Prelude n 21 in B flat major Pianoteq BWV 866

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

https://youtu.be/C2s36dOB6G4

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 8.4.0

https://youtu.be/C2s36dOB6G4

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

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

https://youtu.be/C2s36dOB6G4