According to Bach's 1st biographer, Johann Nikolaus Forkel, _"The Fugue on Bach’s Name [BWV 898] which you have sent to me for consideration is definitely not a work by J. S. Bach. You should not dishonor a collection of his works with such a common, schoolmasterly effort."_ "A COMMON, SCHOOLMASTERLY EFFORT." Forkel hit the nail on the head.
Your technique is quite clean, and you show a solid memory of the piece. Tempo was even, voices were clear, counterpoint was well executed. I would say that sectional breaks show some hesitation, and there is a want for a bit more story telling but this went nicely and I can tell you know the work with great familiarity!
Why is playing from memory important? Playing from memory in concerts started with Liszt, who was playing his own music. Other performers, eager to wow the audience with a dog-and-pony show, started playing from memory.
@@umutepozdemir8017 Why should I care how strong your memory is? I know from my own experience that if you play a piece over and over again, you'll eventually memorize it. It's no big deal.
Here are some notes from report on BWV 898 (Präludium und Fuge B-dur) in the Neue Bach-Ausgabe (NBA), Kritische Berichte (KB) v.12, pp. 223-226, published by Bärenreiter in 2006: Discussion by Frieder Rempp: - This work is not by J. S. Bach. It has not been reproduced in NBA v.12 as printed music. - A single manuscript copy from the second half of the 18th century is the earliest document available. All other copies and printed music of it come from the 19th century. The NBA KB discusses the differences between all the different sources. - The first printed edition of this work appeared in an edition by Peters v.4, pp. 23-27 in 1839 and Peters v.4a, Appendix pp. 22-25 in 1843/44. Friedrich Konrad Griepenkerl commented as follows in the Peters v.4a edition: "In order to avoid the appearance of supporting this work as genuinely by J. S. Bach (there are no exterior or interior reasons supporting this contention), it was placed this time in this reissue in the appendix, so that the purchasers of this volume would not have to do without finding this work which they may have come to love." - The critical voice regarding this composition is very likely that of Johann Nikolaus Forkel, who in 1810 wrote to the Leipzig publishing firm Hoffmeister und Kühnel that was preparing to publish Bach’s keyboard works, _"The Fugue on Bach’s Name which you have sent to me for consideration is definitely not a work by J. S. Bach. You should not dishonor a collection of his works with such a common, schoolmasterly effort."_ - (...) This, along with the idiosyncratic final statement of the fugal subject in octaves, would point more in the direction of Johann Christoph Kellner (1736-1803) as the possible composer of BWV 898.
@@umutepozdemir8017 Neither the silly prelude nor the sillier fugue reflect Bach's style. They are clearly in a later style. If you can't recognize that, then you must not be very familiar with Bach's keyboard works. According to IMSLP, BWV 898 is a doubtful work - possibly a composition of Johann Christian Kittel, one of Bach's last pupils. I have no idea whether it's Kittel's composition, but I note that Kittel was born in 1732, died in 1809. He would have been 18 when Bach died. Why are you inserting periods in "BACH"? It's not an acronym or abbreviation.
@@herrickinman9303 Can you tell me how i couldn't reflect the style of Bach in both Prelude and fugue...🙏 Also,the reason why İ abbreviated BACH is that the fugue theme is based on the name of the BACH B=si A=la C=do H=si
@@umutepozdemir8017 There is no abbreviation for the name "Bach." Surely it would be enough to say that the fugue subject is based on the name "Bach." I could explain why the style of BWV 898 is not Bach's, but that would take too much of my time and too much space for a TH-cam comment. If you can't recognize the stylistic discrepancy, then you need to do some study and research on your own. I will conclude by saying that you gave an excellent performance of a mediocre composition that is definitely not by J.S. Bach, despite the BWV catalog number. Over the years, musicologists have questioned the attribution of certain works in the catalog; BWV 898 is one of the doubtful works.
According to Bach's 1st biographer, Johann Nikolaus Forkel, _"The Fugue on Bach’s Name [BWV 898] which you have sent to me for consideration is definitely not a work by J. S. Bach. You should not dishonor a collection of his works with such a common, schoolmasterly effort."_
"A COMMON, SCHOOLMASTERLY EFFORT." Forkel hit the nail on the head.
Your technique is quite clean, and you show a solid memory of the piece.
Tempo was even, voices were clear, counterpoint was well executed.
I would say that sectional breaks show some hesitation, and there is a want for a bit more story telling but this went nicely and I can tell you know the work with great familiarity!
Thank you for this valuable comment.. 🙏🙏🙏
Why is playing from memory important? Playing from memory in concerts started with Liszt, who was playing his own music. Other performers, eager to wow the audience with a dog-and-pony show, started playing from memory.
@@herrickinman9303 Why shouldn't playing from memory matter? Doesn't that show that a pianist has a strong memory?
@@umutepozdemir8017 Why should I care how strong your memory is? I know from my own experience that if you play a piece over and over again, you'll eventually memorize it. It's no big deal.
Kanka seni canı gönülden tebrik ederim, süpersin.👍🏻👏🏻😍
Çok teşekkür ederim ☺️🙏🙏
Here are some notes from report on BWV 898 (Präludium und Fuge B-dur) in the Neue Bach-Ausgabe (NBA), Kritische Berichte (KB) v.12, pp. 223-226, published by Bärenreiter in 2006:
Discussion by Frieder Rempp:
- This work is not by J. S. Bach. It has not been reproduced in NBA v.12 as printed music.
- A single manuscript copy from the second half of the 18th century is the earliest document available. All other copies and printed music of it come from the 19th century. The NBA KB discusses the differences between all the different sources.
- The first printed edition of this work appeared in an edition by Peters v.4, pp. 23-27 in 1839 and Peters v.4a, Appendix pp. 22-25 in 1843/44. Friedrich Konrad Griepenkerl commented as follows in the Peters v.4a edition: "In order to avoid the appearance of supporting this work as genuinely by J. S. Bach (there are no exterior or interior reasons supporting this contention), it was placed this time in this reissue in the appendix, so that the purchasers of this volume would not have to do without finding this work which they may have come to love."
- The critical voice regarding this composition is very likely that of Johann Nikolaus Forkel, who in 1810 wrote to the Leipzig publishing firm Hoffmeister und Kühnel that was preparing to publish Bach’s keyboard works, _"The Fugue on Bach’s Name which you have sent to me for consideration is definitely not a work by J. S. Bach. You should not dishonor a collection of his works with such a common, schoolmasterly effort."_
- (...) This, along with the idiosyncratic final statement of the fugal subject in octaves, would point more in the direction of Johann Christoph Kellner (1736-1803) as the possible composer of BWV 898.
th-cam.com/video/exD8bhJP1eo/w-d-xo.htmlfeature=shared
Obviously not by J.S. Bach.
Firstly,Thank you for your review..🙏🙏 can you tell me why you think so?
@@umutepozdemir8017 Neither the silly prelude nor the sillier fugue reflect Bach's style. They are clearly in a later style. If you can't recognize that, then you must not be very familiar with Bach's keyboard works.
According to IMSLP, BWV 898 is a doubtful work - possibly a composition of Johann Christian Kittel, one of Bach's last pupils. I have no idea whether it's Kittel's composition, but I note that Kittel was born in 1732, died in 1809. He would have been 18 when Bach died.
Why are you inserting periods in "BACH"? It's not an acronym or abbreviation.
@@herrickinman9303 Can you tell me how i couldn't reflect the style of Bach in both Prelude and fugue...🙏
Also,the reason why İ abbreviated BACH is that the fugue theme is based on the name of the BACH
B=si A=la C=do H=si
@@umutepozdemir8017 There is no abbreviation for the name "Bach." Surely it would be enough to say that the fugue subject is based on the name "Bach."
I could explain why the style of BWV 898 is not Bach's, but that would take too much of my time and too much space for a TH-cam comment. If you can't recognize the stylistic discrepancy, then you need to do some study and research on your own.
I will conclude by saying that you gave an excellent performance of a mediocre composition that is definitely not by J.S. Bach, despite the BWV catalog number. Over the years, musicologists have questioned the attribution of certain works in the catalog; BWV 898 is one of the doubtful works.