Just a few notes from the performer of this recording. These works (BWV 899-902 and 902a) are included in my set of the complete works for harpsichord of J.S. Bach as part of the volume that also contains the seven Toccatas, Fantasias, Preludes & Fugues, as well as the F major Pastorale (Pastorella) for organ; all are played here on a fine pedal harpsichord built in 1990 by the firm of Hubbard & Broekman, with which I worked building harpsichords from 1987-1990, having represented them in my native Australia for 10 years prior to that. The manual harpsichord (one of the last i worked on in the H & B shop) is a 1990 copy of the 1646 Andreas Ruckers instrument expanded and rebuilt by Francois-Etienne Blanchet around 1756, later worked on (1780) by his student, Pascal Joseph Taskin. It's brightness and clarity well suits the music of Bach. The pedal harpsichord was a practice instrument for organists; a fully independent instrument with a two and a half octave pedalboard operated by the feet. Like the instrument sitting on top of it, it has three sets of strings (16'; 8'; 4') and matches well the sound of the instrument it supports. The four works included here include BWV 899, a tautly-written and expressive D minor Prelude (here played as an organ work, with the bass part on the pedals at 16' pitch, or an octave lower than written) and fughetta (or small fugue). This is followed by the longest of the set, a Prelude & Fughetta in the dark and expressive key of E minor (the key that begins the St. Matthew Passion). BWV 901, in F major, includes a pastorale-type prelude and also the early version (in F major) of the A-flat major fugue found in Book 2 of the Well-Tempered Clavier, where Bach has transposed it up a minor third, doubled its length and added highly adventurous modulations by expanding the version included here. The beautiful Prelude in G major, BWV 902 is a true masterpiece, on a par with many of the preludes from the WTC. It is followed by the G major fughetta that provided the material for the (heavily reworked) G major fugue in Book 2 of the WTC. Bach composed three different preludes to go with this fughetta and its later version; in the end, for inclusion in the WTC, he supplied an entirely new prelude to match his revised fugue. The earliest prelude is probably BWV 902a, included here at the end, which inhabits the same world as Bach's Prelude in G major for organ (BWV 541). Those who are used to listening to Bach (on either harpsichord or piano) at modern concert pitch (A=440hz) will notice that the pitch here is a semitone (half-step) lower, A=415hz, a common pitch in use in the first half of the 18th century. The temperament, as for all of my Bach recordings is the 2004 Bach-Lehman tuning, about which you can learn more here: www.larips.com
Wunderschöne Interpretation dieser vier fein komponierten Präludien und Fugetten in verschiedenen Tempi mit schimmerndem doch warmherzigem Klang des technisch perfekten Cembalos und mit sorgfältig kontrollierter Dynamik. Alles ist wundervoll!
Thanks Peter. Your mastery extends from the music, through the instrument. This selection of pieces is rare and neglected. Not to mention meltingly pretty.
@@hugoclarke3284 Some editions of both the early version and the familiar version of the G Major Fugue give a real answer to the subject instead of a tonal answer, which makes far more sense to me in this situation. Both of these fugues are earlier versions, which Bach developed and worked out to incorporate into the second volume of the WTC. This is also the case with Prelude and Fugue 3, and possibly Fugue 4 as well. Close to half of the Preludes in the first book exist in earlier versions as well.
Why would they be? Maybe you're referring to the Kleine Präludien for Wilhelm Friedemann Bach? But even then, these were written for his son, not by him
Just a few notes from the performer of this recording. These works (BWV 899-902 and 902a) are included in my set of the complete works for harpsichord of J.S. Bach as part of the volume that also contains the seven Toccatas, Fantasias, Preludes & Fugues, as well as the F major Pastorale (Pastorella) for organ; all are played here on a fine pedal harpsichord built in 1990 by the firm of Hubbard & Broekman, with which I worked building harpsichords from 1987-1990, having represented them in my native Australia for 10 years prior to that. The manual harpsichord (one of the last i worked on in the H & B shop) is a 1990 copy of the 1646 Andreas Ruckers instrument expanded and rebuilt by Francois-Etienne Blanchet around 1756, later worked on (1780) by his student, Pascal Joseph Taskin. It's brightness and clarity well suits the music of Bach. The pedal harpsichord was a practice instrument for organists; a fully independent instrument with a two and a half octave pedalboard operated by the feet. Like the instrument sitting on top of it, it has three sets of strings (16'; 8'; 4') and matches well the sound of the instrument it supports.
The four works included here include BWV 899, a tautly-written and expressive D minor Prelude (here played as an organ work, with the bass part on the pedals at 16' pitch, or an octave lower than written) and fughetta (or small fugue). This is followed by the longest of the set, a Prelude & Fughetta in the dark and expressive key of E minor (the key that begins the St. Matthew Passion). BWV 901, in F major, includes a pastorale-type prelude and also the early version (in F major) of the A-flat major fugue found in Book 2 of the Well-Tempered Clavier, where Bach has transposed it up a minor third, doubled its length and added highly adventurous modulations by expanding the version included here. The beautiful Prelude in G major, BWV 902 is a true masterpiece, on a par with many of the preludes from the WTC. It is followed by the G major fughetta that provided the material for the (heavily reworked) G major fugue in Book 2 of the WTC. Bach composed three different preludes to go with this fughetta and its later version; in the end, for inclusion in the WTC, he supplied an entirely new prelude to match his revised fugue. The earliest prelude is probably BWV 902a, included here at the end, which inhabits the same world as Bach's Prelude in G major for organ (BWV 541).
Those who are used to listening to Bach (on either harpsichord or piano) at modern concert pitch (A=440hz) will notice that the pitch here is a semitone (half-step) lower, A=415hz, a common pitch in use in the first half of the 18th century. The temperament, as for all of my Bach recordings is the 2004 Bach-Lehman tuning, about which you can learn more here: www.larips.com
Happy Bach Day! Born this day, 31 March, 337 years ago! Praise God for his living legacy!
The comfort of Bach‘s music isirreplaceable , soothes my soul.
I feel as if my soul is being sucked away
damn
Wunderschöne Interpretation dieser vier fein komponierten Präludien und Fugetten in verschiedenen Tempi mit schimmerndem doch warmherzigem Klang des technisch perfekten Cembalos und mit sorgfältig kontrollierter Dynamik. Alles ist wundervoll!
Thanks Peter. Your mastery extends from the music, through the instrument.
This selection of pieces is rare and neglected. Not to mention meltingly pretty.
A fine performance and an excellent harpsichord. Thank you.
Beautiful!!!
Sublime !!! 👍🏻 👍🏻 👍🏻 🎶🎼❤️🎶🎵🎼❤️🎶🎶🎵🎶🎼🎼❤️🎶🎵
Fascinante!!!
The F major and G major fughettas seem to be 3 parts simplified versions of Fugues 17 and 15 from WTC 2, interesting
I like parts of the G major fugue better in this version
@@hugoclarke3284 Some editions of both the early version and the familiar version of the G Major Fugue give a real answer to the subject instead of a tonal answer, which makes far more sense to me in this situation.
Both of these fugues are earlier versions, which Bach developed and worked out to incorporate into the second volume of the WTC. This is also the case with Prelude and Fugue 3, and possibly Fugue 4 as well.
Close to half of the Preludes in the first book exist in earlier versions as well.
@@alger3041 Yes, I have noticed how the music was different to the score and couldn't find out how I could be this bad at sight reading...
At 19:12 the German at the bottom says: "Compare to the G major fugue in the second part of the Well-Tempered Clavier (Volume XIV page 12)."
That low d is frightening.
Magical Harpsichord Sound
Johann Sebastian Bach:Négy prelúdium és fughetta
1.d-moll prelúdium és fughetta BWV 899 00:00
2.e-moll prelúdium és fughetta BWV 900 03:03
3.F-dúr prelúdium és fughetta BWV 901 08:06
4.G-dúr prelúdium és fughetta BWV 902 11:24
G-dúr prelúdium BWV 902a 20:32
Peter Watchorn-csembaló
Köszönöm az értékelést
when i hear the beginning i thought its going to be desert dancing line haha and i was like "this sounds familiar"
Je ne peux rien écouter hélas !!merci
Weird how Henle-Verlag published the F major version and alternative G major version in a different collection other than the Fughettas
Is that harpsichord? The lower part sounds so strong and so weird
Why don't you guys ever read the info under the video? Click on the tab "show more" and you will know more.
@@bartjebartmans 'cause we want to promote your video into "trending" with our stupid questions)
thank you!
@@bahrss Is that for real?
@@bartjebartmans every joke has a grain of truth)
great video! but aren't these pieces from Bach's son?
Nope. From the Old man himself.
Why would they be? Maybe you're referring to the Kleine Präludien for Wilhelm Friedemann Bach? But even then, these were written for his son, not by him
@@peterwatchorn411 ah, I see
@@user-fu7zf4ck9z Ah, okay. I didn't know that
Je n’annèce à au n’assécha si accès acceèaucun de vos messages hé’as
Okay ! This is a pedal harpsichord
19:11
Bwv 901. I prefere the wtk version
Oh Buck got the rhythm
Glory to God
Isn’t that 3rd fugue usually in Ab? I’d much rather play it in F. The last bars of this fugue in Ab are very hard.
Wait till you hear my comment