Topic by carmelo.paolucci

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Topic: New Bach Video - Fugue n 4 in C-sharp minor BWV 873 WTC 2

Dear Friends,

Bach Fugue n 4 in C Sharp minor (à 3) has no spiritual relationship with the prelude, and, at best, suits it owing to the sharp contrast.
It has, as Spitta rightly remarks, the character of a Gigue, and it is quite a wonderful Perpetuum mobile. The theme runs along in unbroken semiquavers; as it moves in plagal form around the tonic, having as limit above and below the fifth of the key, but returning to the tonic, it does not actually press forwards, neither does it sink downwards, but runs busily, within a narrow circle, hither and thither.
The answer is a faithful transposition into the key of the dominant, which is by no means intelligible, as the form: (without the sharps indicated above) would have been correct and intelligible (or, at any rate, the first /x need
not have been written). But it corresponds thoroughly with the hurried nature of the whole piece to fall headlong into the dominant. Again that Bach does not let the bass first come to an end, but brings in the Comes in the soprano two measures before its time, and, likewise, before the end of the close - confirmation (8 a = i) the Dux in the alto, is quite in keeping with the character of the theme, and with that of the whole piece.
Besides the theme in its original form, rich use is made of it in inversion and in that it also resembles Bach's Gigues: Of the counterpoints the most important is the one proceeding by dotted quavers and with a syncopation at the commencement; its actual form is really not the one which it has as first countersubject to the Comes (where the leap to the leading-note is only made on account of the writing a 2.
Turn on the audio and let me know what you think!
Greetings from Italy

Carmelo

This video was played with these settings:
Played on Yamaha P125 piano stage, Tamara House.                                                                                        Video Recording Samsung galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 9.0.3
Editing: Wondershare Filmora

https://youtu.be/Ykliah86aoI

Reply by DEZ

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Re: New Bach Video - Fugue n 4 in C-sharp minor BWV 873 WTC 2

carmelo.paolucci wrote:

Bach Fugue n 4 in C Sharp minor (à 3) has no spiritual relationship with the prelude, and, at best, suits it owing to the sharp contrast.
It has, as Spitta rightly remarks, the character of a Gigue …

Nice pace and light application of the triplet scales delicately balanced between the hands allowing for each voice to enter joyfully into the ‘dance.’

Well done, as always !

Reply by carmelo.paolucci

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Re: New Bach Video - Fugue n 4 in C-sharp minor BWV 873 WTC 2

DEZ wrote:
carmelo.paolucci wrote:

Bach Fugue n 4 in C Sharp minor (à 3) has no spiritual relationship with the prelude, and, at best, suits it owing to the sharp contrast.
It has, as Spitta rightly remarks, the character of a Gigue …

Nice pace and light application of the triplet scales delicately balanced between the hands allowing for each voice to enter joyfully into the ‘dance.’

Well done, as always !

Thank you so much for your comment DEZ!
I'm really happy you've enjoyed my video.
Greetings from Italy
Carmelo

Reply by KloppartA

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Re: New Bach Video - Fugue n 4 in C-sharp minor BWV 873 WTC 2

carmelo.paolucci wrote:

Dear Friends,

Bach Fugue n 4 in C Sharp minor (à 3) has no spiritual relationship with the prelude, and, at best, suits it owing to the sharp contrast.
It has, as Spitta rightly remarks, the character of a Gigue, and it is quite a wonderful Perpetuum mobile. The theme runs along in unbroken semiquavers; as it moves in plagal form around the tonic, having as limit above and below the fifth of the key, but returning to the tonic, it does not actually press forwards, neither does it sink downwards, but runs busily, within a narrow circle, hither and thither.
The answer is a faithful transposition into the key of the dominant, which is by no means intelligible, as the form: (without the sharps indicated above) would have been correct and intelligible (or, at any rate, the first /x need
not have been written). But it corresponds thoroughly with the hurried nature of the whole piece to fall headlong into the dominant. Again that Bach does not let the bass first come to an end, but brings in the Comes in the soprano two measures before its time, and, likewise, before the end of the close - confirmation (8 a = i) the Dux in the alto, is quite in keeping with the character of the theme, and with that of the whole piece.
Besides the theme in its original form, rich use is made of it in inversion and in that it also resembles Bach's Gigues: Of the counterpoints the most important is the one proceeding by dotted quavers and with a syncopation at the commencement; its actual form is really not the one which it has as first countersubject to the Comes (where the leap to the leading-note is only made on account of the writing a 2.
Turn on the audio and let me know what you think!
Greetings from Italy

Carmelo

This video was played with these settings:
Played on Yamaha P125 piano stage, Tamara House.                                                                                        Video Recording Samsung galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 9.0.3
Editing: Wondershare Filmora

https://youtu.be/Ykliah86aoI

Amazing performance Carmelo! I truly appreciated the fluidity and clarity in the articulation between the subject and countersubject; every thematic line emerges with perfect definition. This fugue carries the risk of sounding mechanical, but you made it deeply musical. It’s clear that your work on the Well-Tempered Clavier and the Inventions has led to a massive leap forward—not just technically, but especially in terms of interpretive maturity.
Truly well done!
Arno

Last edited by KloppartA (Yesterday 11:47)

Reply by Pianoteqenthusiast

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Re: New Bach Video - Fugue n 4 in C-sharp minor BWV 873 WTC 2

carmelo.paolucci wrote:

Dear Friends,

Bach Fugue n 4 in C Sharp minor (à 3) has no spiritual relationship with the prelude, and, at best, suits it owing to the sharp contrast.
It has, as Spitta rightly remarks, the character of a Gigue, and it is quite a wonderful Perpetuum mobile. The theme runs along in unbroken semiquavers; as it moves in plagal form around the tonic, having as limit above and below the fifth of the key, but returning to the tonic, it does not actually press forwards, neither does it sink downwards, but runs busily, within a narrow circle, hither and thither.
The answer is a faithful transposition into the key of the dominant, which is by no means intelligible, as the form: (without the sharps indicated above) would have been correct and intelligible (or, at any rate, the first /x need
not have been written). But it corresponds thoroughly with the hurried nature of the whole piece to fall headlong into the dominant. Again that Bach does not let the bass first come to an end, but brings in the Comes in the soprano two measures before its time, and, likewise, before the end of the close - confirmation (8 a = i) the Dux in the alto, is quite in keeping with the character of the theme, and with that of the whole piece.
Besides the theme in its original form, rich use is made of it in inversion and in that it also resembles Bach's Gigues: Of the counterpoints the most important is the one proceeding by dotted quavers and with a syncopation at the commencement; its actual form is really not the one which it has as first countersubject to the Comes (where the leap to the leading-note is only made on account of the writing a 2.
Turn on the audio and let me know what you think!
Greetings from Italy

Carmelo

This video was played with these settings:
Played on Yamaha P125 piano stage, Tamara House.                                                                                        Video Recording Samsung galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 9.0.3
Editing: Wondershare Filmora

https://youtu.be/Ykliah86aoI


That was really impressive playing, the precision and control in your playing were amazing!

carmelo, I think you have progressed far enough in the competition to compete in the last phase where the winner is determined!
I really hope so.

Best wishes,

Stig

Reply by carmelo.paolucci

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Re: New Bach Video - Fugue n 4 in C-sharp minor BWV 873 WTC 2

KloppartA wrote:
carmelo.paolucci wrote:

Dear Friends,

Bach Fugue n 4 in C Sharp minor (à 3) has no spiritual relationship with the prelude, and, at best, suits it owing to the sharp contrast.
It has, as Spitta rightly remarks, the character of a Gigue, and it is quite a wonderful Perpetuum mobile. The theme runs along in unbroken semiquavers; as it moves in plagal form around the tonic, having as limit above and below the fifth of the key, but returning to the tonic, it does not actually press forwards, neither does it sink downwards, but runs busily, within a narrow circle, hither and thither.
The answer is a faithful transposition into the key of the dominant, which is by no means intelligible, as the form: (without the sharps indicated above) would have been correct and intelligible (or, at any rate, the first /x need
not have been written). But it corresponds thoroughly with the hurried nature of the whole piece to fall headlong into the dominant. Again that Bach does not let the bass first come to an end, but brings in the Comes in the soprano two measures before its time, and, likewise, before the end of the close - confirmation (8 a = i) the Dux in the alto, is quite in keeping with the character of the theme, and with that of the whole piece.
Besides the theme in its original form, rich use is made of it in inversion and in that it also resembles Bach's Gigues: Of the counterpoints the most important is the one proceeding by dotted quavers and with a syncopation at the commencement; its actual form is really not the one which it has as first countersubject to the Comes (where the leap to the leading-note is only made on account of the writing a 2.
Turn on the audio and let me know what you think!
Greetings from Italy

Carmelo

This video was played with these settings:
Played on Yamaha P125 piano stage, Tamara House.                                                                                        Video Recording Samsung galaxy A54.
VST: Hamburg Steinway D Pianoteq Stage 9.0.3
Editing: Wondershare Filmora

https://youtu.be/Ykliah86aoI

Amazing performance Carmelo! I truly appreciated the fluidity and clarity in the articulation between the subject and countersubject; every thematic line emerges with perfect definition. This fugue carries the risk of sounding mechanical, but you made it deeply musical. It’s clear that your work on the Well-Tempered Clavier and the Inventions has led to a massive leap forward—not just technically, but especially in terms of interpretive maturity.
Truly well done!
Arno

Thank you so much, Arno! I really appreciate your thoughtful feedback. Finding the right balance between structural clarity and musicality in these fugues is always a challenge, so knowing that the counterpoint came through clearly means a lot to me. Glad to hear that the work on the WTC and Inventions is paying off!
Thanks for listening and for the continued support.
Greetings from Italy
Carmelo