Bach certainly loved C minor (and E flat), this one and the duo from the second book are full of religious symbolism. For starters, C minor is a key with 3 flats, representing the holy trinity. Bach was a very religious man and did this sort of thing often. For example, his Mathew’s Passion starts in E minor (Erde) and the final chorus ends in C minor. So we start on Earth and finish in Heaven. I could go into much more detail but youtube comments are not the place. :)
@@NM-ls3egWell I know that when Bach writes a long note on a motiv, It means something big and solemn, like god. Also, some motivs do have a cross like shape, like the one in the C sharp minor fugge: C sharp B sharp E D Sharp C sharp. Equilibrium.
Matt on, you may want to take a gander at channel where I discuss color and even shape relationships to specific notes. I have even developed a special keyboard based on these associations, my Musicolor Matrix. Your, _Acoustic Rabbit Hole_
I had to go immediately and play this again (piano, I'm afraid- I don't own a clavichord and I just started rebuilding my harpsichord), and it felt like an entirely new piece to me! After growing up with quite strict Bach interpretations being common (I'm 57), free, even Romantic interpretations like this make the music feel like it is finally able to escape; to escape the cold written notes and to come alive and communicate Bach's very deep emotions. Thank you for the inspiration!
WIth Bach I've always sensed that there is more. And todaynyour explanation of that presto and the way you land on the e-natural made bachian sense, noit just a musical event. (The e-natiral really is final sunshine but it's still incomplete, requiring the echo of teh c. I love it.
Nice very nice, just goes to show the genius of Bach, writes a series of pieces to show off the merits of a new tuning system, and yet in a prelude you can extract a story. You are a consummate teacher!
Thank you, this deep analysis is very impressive, and once again demonstrates the genius of Bach. Regarding the last E natural, I like your interpretation : Bass C for Earth, higher C for Heaven, and finally E for Human, flat or natural according to his mood... but I would like to recall an other possible reason, very basic indeed : It was very usual, not to say mandatory, from Renaissance to Baroque, AND SPECIALLY FOR ORGANISTS (I.e. church music), when a piece of music was written in minor mode to end up with a final chord in major - listen to Bach, Buxtehude, MA Charpentier, H. Purcell and dozens of other : D minor pieces finish with a F#, G minor with a B natural.... One reason given is that, when you play and then mute the final chord , the sound goes in reverberation all around the church, or cathedral and goes distorted when the chord is in minor. Probably real reason was more mystical.
You gave me an idea that I never considered before, just playing the first note in each measure and then adding in more notes as you get more familiar. That's brilliant! Huge applause to you.
Wonderful tutorial. Thank you. I especially enjoyed your ending. I was taught this piece (and the Fugue) over 50 years ago, and my piano teachers goal for the Prelude was for me to play it as fast as possible without freezing up. So I am delighted to hear your insightful approach of this Prelude. Much appreciated. 🇨🇦
Fue Maravilloso. Magistral. La Composición Literaria Coyuntural y estructural. Hecho para la Humanidad x Familia BACH Cuando todo estaba en pañales Aun se puede percibir Sabiduría Universal Gracias. Roberto Quijada Gopal
I like your interpretation very much, when I get out of hospital this is one of the pieces of music that I am looking forward to playing again, with your interpretation taken on board.
My favourite Prelude and Fugue of the whole two books. Thank you, Wim. I had a bad day and your “review” (and playing) of this piece made me feel better. God bless you +
La musique de Bach en particulier laisse une grande liberté dans l'interprétation possible. Cela stimule la créativité, incite à recréer l'oeuvre pour la personaliser. Les interprétations différentes sont autant de variations sans cesse nouvellement écrites. Et toutes sont légitimes. Les interprétations en dehors des sentiers battus, comme justement celle de ce prélude par Gould, sont des garantes de la vie toujours fluide dans la musique.
While I happen to mostly disagree with your metronome/cut time discussions, this interpretation and discussion of the C-minor Prelude is quite wonderful. Including the tempo.
My first hearing of this piece was on Walter (at that time, now Wendy) Carlos' Switched-On Bach, which was released in 1968. Ever since, that has been my interpretation -- on piano, which I played in C minor, F minor, and G minor (each has its own mood and feel). Hearing your analysis and interpretation today greatly broadened my narrow understanding. Many thanks.
The Prelude dates from 1720, it’s the 15th work in Clavier-Buechlein for Wilhelm Friedemann Bach as the 2nd Praeludium in the early form. J N Forkel used in his edition published by Hoffmeister. Gerber’s copy ends with a mordant on the E natural in the last measure. Gerber studied with J S Bach in 1725. The Gerber manuscript also has the word Adagio in what has thought to be J S Bach’s handwriting in measure 25, three measures before the Presto, this indication is only found in Gerber’s manuscript, which along with JSB’s cousin Johann Walter and two other manuscripts contain the earliest version of WTC Pt 1. Future son in law J C Altnickol’s copy dates from the later years of J S Bach’s life and contains all the revisions not found in the earlier manuscripts, or of those the autograph which Bach altered.
What you say here is what makes Bach utterly unique in the history of Western music. Bach was familiar with some of his German and Italian antecedents which influenced his compositional style. I wish you could analyze Toccata Nona (First Book of Toccatas and Partitas, Vol 2) of Girolamo Frescobaldi. His play with harmonies and temperament is very interesting to me and marks his genius. Love your presentations.
Wirklich berührend diese persönliche Deutung dieses oft zu Tode gehetzten Präludiums ! Manche werden sagen : das ist " zu romantisch " für Bach, und das auch noch unter Berufung auf " die historische Aufführungspraxis ". Ich finde es mutig - und deshalb wertvoll, weil inspirierend, wenn ein Interpret seine persönliche Geschichte mit einem Musikstück erzählt. DANKE - und gerne weiter so ! Gruß aus Stuttgart, wo J.S. Bach vielfältig " gepflegt " wird ! Post Scriptum : 300. Geburtstag von Bach's Inventionen-Vorwort 1723 : " am allermeisten eine cantable Art im Spielen zu erlangen " ( das Video hier kann das auf sehr persönliche Weise veranschaulichen ).
Wim, This is a really nice series which makes us think more about the music than just the notes. When I had lessons in my latter years, my teachers would spend a good part of my lessons doing this kind of analysis. Today, this has become second nature to me and makes learning and playing music even more enjoyable as I seek out this in the music. If you were to do another piece, I would like you to continue with Prelude and Fugue No. 3 in C#. There's a lot more to these two than meets the eye.
I'm collecting different parts of Beethoven's music to introduce the value of classical music to some students. Now after watching your VDO I take a step back. I never saw emotional interpretation like this on Bach. Thank you
I keep coming back to this analysis, and as my music education improves the goal of being able to play this becomes ever closer. But you help me dream.
This is wonderful Wim. Thank you for sharing your deep love of music and the fruits of all your in-depth studies. Anything which helps us get closer to the music of Johan Sebastian Bach is valuable and worthwhile. Wishing you the best - John
This was my first contest piece in the seventh grade in Wisconsin. We were rated, not against each other, but on a scale of one to five. The judge was apologetic while giving me a two for not having played it fast enough. (I played it considerably faster than this demonstration.) Today I would deem that rating appropriate, but not because of the tempo. I was merely playing the correct notes. I was not, however, telling a story. Fifty years later I am again playing c-minor, this time the double concerto in a small local concert not far from Eisenach. I hope we will tell an interesting musical story at an appropriate tempo and with the correct notes. Thank you for this reminder about what really matters in music.
Now in my late 50s, an ardent amateur pianist, how often I wish that my childhood teachers, fine as they were and whom I loved, had imparted also that I was not just "playing the piano" but telling a story using the piano. Learning grammar is part of school, too. But even at the late teen and college level, the drive to the annual recitals was too often about getting notes under the fingers than what you are saying, like learning to recite a poem phonically. Most professionals play their instruments in settings where interpretation is less important or is given by another (conductor), producing a bias in music training.
My connection with Bach's music is very mysterious. But hearing you talk about it is always a pleasure. Thanks for sharing your thoughts and knowledge. 🦫
40 years ago I listened to this movement. I was blown away. For me, it is a magical experience. Beyond the notes, did a good job of explaining the magic. Well, it is Bach and even in such a simple construction like this can you really understand what a genius is saying?
wonderful.. real music played and described by a real musician. Someone who really know, feals and seeks to understand... music. refreshing to say the least. I eas wondering if you could do something covering the evplution of Bachs work throught the years...
Mr Winters, Thank you for your artistry and inspiration. I appreciate your work and perspective in this and your other series. I am looking forwarding to more Beyond the Notes. I wish you health and joy and many more rapturous musical moments. -Dr D
When I played this piece at school, I imagined a mysterious figure in the dark, walking quickly and decisively through a 1700s busy city in the evening, with a sense of great urgency or danger. All different city sounds and events happening all around, horse hooves clicking against the pavement. He eventually stops abruptly, hardly believing he had managed to reach his destination, and yet he hesitates to proceed forward. He eventually walks through the door with a feeling of momentary relief, but the real story is only about to unveil, the fugue begins... One of my favourite Bach pieces, loved your insights and interpretation, it motivates me to come back and learn it again as it's been years since I last played it.
This is such a beautiful and lyrical [in a very Bachian Baroque way quite different from, and yet no less emotionally moving than, Romantic-style lyricism] prelude. You asked about our story with this piece: Since high school, I perceived this prelude as full of emotion and lyricism, and played it accordingly; and yet I would never ever hear any renditions of it that seemed to recognise it as such. Upon hearing Mahan Esfahani's rendition during the pandemic (which seemingly was only available on TH-cam for a brief period), I almost immediately teared up a bit, because of hearing for the first time in my life _someone else_ playing it according to the same manner of perception and communication of tone and mood in the music as I had myself been doing "in private" for 15 or so years. And now your rendition is also of a similar nature, with similarly tear-jerking beauties. The double lower auxiliary notes occurring in 3rds and 6ths; the tensions and variations of tension in the harmonies; the clearly cello-like lyricism of the left hand (when played at a suitable speed); and indeed, the basic fact that this the opening minor prelude of the WTC follows the same basic pattern [one main harmony per bar, with each bar consisting of 8 semiquaver notes tracing out the harmony and then repeated] as the preceding, very opening prelude of the WTC: all these point _not_ to a fast-tempo mechanical exercise, but rather an exercise in coordinated melodic lyricism and in understanding the emotional depths of tonal harmony. And also, I agree that while the Picardy 3rd is very common, it somehow is made particularly beautiful in how it occurs at the end of this prelude.
Thanks for opening to us your thoughts about this piece, and discussing the potential for saddness at certain parts if it. I am deeply intrigued by this. Puzzled too. I only associate feelings of happiness and sadness with color, not sound, thankfully. So being both an artist and musician helps me understand how one might feel sad. In hearing this music. I guess. Hmmm. I interpret the frequent shifts into minor as equally joyous and more 'delicious' actually. I interpret it as one might feel great pleasure while eating a heavenly gourmet meal and feeling complete satiafaction. Then the desert, ambrisoal and no less blissful, Is as much, if not more, satisfying. At the moment I might not mind risking a bit of sadness for a piece of blueberry or cherry cheesecake. 😄 Thanks again. 💛
As a young classical guitar learning a long time ago, I loved playing adaptations for guitar of Bach's music. Also menuettos, sarabands, and other pieces of early European music. As with Gould, after this early learning I found Mozart not only hard to grasp, but also repetitive, too foreseeable.
this was so useful - I love this prelude for first half but never understood the second half until now! it's making me appreciate this prelude (and the ending) so much more. thank you!
Until now I always have felt that Prelude No. 2 was a kind of a "simple" piece by the Great Master Bach. But now that this video has shed some light upon its hidden depth I feel very happy not having discarded it from my repertoire. Certainly the clavichord is an ideal instrument for it. Unfortunately on grand pianos some very unpleasantly mechanical interpretations have been spread. Thank your for your elucidations!
Getting to the essence of music - that is the way. I completely agree because that is exactly what I feel myself when I play music-notes of pieces that I love, although I may realize it in another way - but the principle is the same. BRAVO! Excellent upload.
This Prelude was never part of my piano lessons back in the days, but I always played it slower and more emotional than I knew it from any vinyl. To warm up your fingers, it's a nice exercise to play it fast, but there is no feeling at all. Thanks to TH-cam I could listen to many others. Mostly fast and cold except for Glenn Goulds interpretation. The confirmation I was locking for ;-)
Over the centuries Bach continues to be unrivaled.
Bach certainly loved C minor (and E flat), this one and the duo from the second book are full of religious symbolism. For starters, C minor is a key with 3 flats, representing the holy trinity. Bach was a very religious man and did this sort of thing often. For example, his Mathew’s Passion starts in E minor (Erde) and the final chorus ends in C minor. So we start on Earth and finish in Heaven. I could go into much more detail but youtube comments are not the place. :)
Hey, do you have more information/examples for the (religious) symbolism that can be researched?
@@NM-ls3egWell I know that when Bach writes a long note on a motiv, It means something big and solemn, like god. Also, some motivs do have a cross like shape, like the one in the C sharp minor fugge: C sharp B sharp E D Sharp C sharp. Equilibrium.
Matt on, you may want to take a gander at channel where I discuss color and even shape relationships to specific notes. I have even developed a special keyboard based on these associations, my Musicolor Matrix.
Your, _Acoustic Rabbit Hole_
Bach is, indeed, a soulful storyteller
I love people who adore and talk about the phenomenal details of the greatest Musician of all times. So I love you too 🍒 👏🏼
An excellent analysis. This prelude is not "just a finger exercise": it is music !
What a wonderful revelation you had for this piece. I have to go to the piano immediately ! Thank you !!!
this was the song that started my serious keyboard playing over 25 years ago.
This is a very stormy piece but at the same time the hints of major keys is like a sun shining through the grey clouds
There's this feeling I have when sseeing someone so connected and so immersed with music, that gives me a lot of motivation
I had to go immediately and play this again (piano, I'm afraid- I don't own a clavichord and I just started rebuilding my harpsichord), and it felt like an entirely new piece to me! After growing up with quite strict Bach interpretations being common (I'm 57), free, even Romantic interpretations like this make the music feel like it is finally able to escape; to escape the cold written notes and to come alive and communicate Bach's very deep emotions. Thank you for the inspiration!
its like bach was only a pattern. a tips but not a piece. (but its the only one from bach lol)
I love Bach's prelude! The prelude of the Law.
Merci pour nous prendre par la main et apprendre a écouter avec le cœur et la sensibilité !
Thank You!!! Love Bach forever!!! 👏👏👏🎶🎵🎶🎵🎶✨☀️✨☀️✨☀️🌷🌷🌷🌷🌷🙏🙏🙏
Thank you Wim.
The final C maj is simply perfect.
I play this on a Yamaha P60 - I'll be playing now with all this mind. Thank you.
WIth Bach I've always sensed that there is more. And todaynyour explanation of that presto and the way you land on the e-natural made bachian sense, noit just a musical event. (The e-natiral really is final sunshine but it's still incomplete, requiring the echo of teh c. I love it.
I like your interpretation of this piece. The depth of JSB's music seems to require a lifetime of study and interpretation.
It is always a pleasure to listen to an old friend with a new understanding.
Never realised what this prelude was hiding!
Thanks so much!
Nice very nice, just goes to show the genius of Bach, writes a series of pieces to show off the merits of a new tuning system, and yet in a prelude you can extract a story. You are a consummate teacher!
Thank you, this deep analysis is very impressive, and once again demonstrates the genius of Bach. Regarding the last E natural, I like your interpretation : Bass C for Earth, higher C for Heaven, and finally E for Human, flat or natural according to his mood... but I would like to recall an other possible reason, very basic indeed : It was very usual, not to say mandatory, from Renaissance to Baroque, AND SPECIALLY FOR ORGANISTS (I.e. church music), when a piece of music was written in minor mode to end up with a final chord in major - listen to Bach, Buxtehude, MA Charpentier, H. Purcell and dozens of other : D minor pieces finish with a F#, G minor with a B natural.... One reason given is that, when you play and then mute the final chord , the sound goes in reverberation all around the church, or cathedral and goes distorted when the chord is in minor. Probably real reason was more mystical.
Good observation! Makes sense to me that both interpretations are true. The world is made up octaves and their intervals. IMHO. Thanks.
Always learning. Nice video.
Very inspiring
Thank you ❤
Favorite prelude!
A little “as above, so below “… a little darkness; but in the end, one finds the light. I loved your interpretation!
You gave me an idea that I never considered before, just playing the first note in each measure and then adding in more notes as you get more familiar. That's brilliant! Huge applause to you.
Fascinating!
This was my first prelude and fugue I learned. I enjoied your thoughts, thank you, Mr. Winters.
Thankyou Wim 🙏🎶
Wonderful tutorial. Thank you. I especially enjoyed your ending.
I was taught this piece (and the Fugue) over 50 years ago, and my piano teachers goal for the Prelude was for me to play it as fast as possible without freezing up.
So I am delighted to hear your insightful approach of this Prelude.
Much appreciated. 🇨🇦
Fue Maravilloso. Magistral. La Composición
Literaria Coyuntural y estructural.
Hecho para la Humanidad x Familia BACH
Cuando todo estaba en pañales
Aun se puede percibir Sabiduría Universal
Gracias.
Roberto Quijada Gopal
Thanks!
Lovely instrument.
This post just came up on my feed. Cool stuff. Just subscribed. Thanks
I like your interpretation very much, when I get out of hospital this is one of the pieces of music that I am looking forward to playing again, with your interpretation taken on board.
My favourite Prelude and Fugue of the whole two books. Thank you, Wim. I had a bad day and your “review” (and playing) of this piece made me feel better. God bless you +
My teacher told me she never heard this prelude well played….your interpretation at the end is very interesting
Love it!
La musique de Bach en particulier laisse une grande liberté dans l'interprétation possible. Cela stimule la créativité, incite à recréer l'oeuvre pour la personaliser. Les interprétations différentes sont autant de variations sans cesse nouvellement écrites. Et toutes sont légitimes. Les interprétations en dehors des sentiers battus, comme justement celle de ce prélude par Gould, sont des garantes de la vie toujours fluide dans la musique.
While I happen to mostly disagree with your metronome/cut time discussions, this interpretation and discussion of the C-minor Prelude is quite wonderful. Including the tempo.
Super cool Wim. Thanks🙂🙏🏼🌹
I so enjoyed that! And yes, now I am smiling!
Very Good video.
Creation and heaven is undoubtedly what he had in mind.
My first hearing of this piece was on Walter (at that time, now Wendy) Carlos' Switched-On Bach, which was released in 1968. Ever since, that has been my interpretation -- on piano, which I played in C minor, F minor, and G minor (each has its own mood and feel). Hearing your analysis and interpretation today greatly broadened my narrow understanding. Many thanks.
you're an amazing musician with mind opening insights, thank you!
The Prelude dates from 1720, it’s the 15th work in Clavier-Buechlein for Wilhelm Friedemann Bach as the 2nd Praeludium in the early form. J N Forkel used in his edition published by Hoffmeister. Gerber’s copy ends with a mordant on the E natural in the last measure. Gerber studied with J S Bach in 1725. The Gerber manuscript also has the word Adagio in what has thought to be J S Bach’s handwriting in measure 25, three measures before the Presto, this indication is only found in Gerber’s manuscript, which along with JSB’s cousin Johann Walter and two other manuscripts contain the earliest version of WTC Pt 1.
Future son in law J C Altnickol’s copy dates from the later years of J S Bach’s life and contains all the revisions not found in the earlier manuscripts, or of those the autograph which Bach altered.
What you say here is what makes Bach utterly unique in the history of Western music. Bach was familiar with some of his German and Italian antecedents which influenced his compositional style. I wish you could analyze Toccata Nona (First Book of Toccatas and Partitas, Vol 2) of Girolamo Frescobaldi. His play with harmonies and temperament is very interesting to me and marks his genius. Love your presentations.
Great lesson! Thank you ❤️
thank you
Wirklich berührend diese persönliche Deutung dieses oft zu Tode gehetzten Präludiums !
Manche werden sagen : das ist " zu romantisch " für Bach,
und das auch noch unter Berufung auf " die historische Aufführungspraxis ".
Ich finde es mutig - und deshalb wertvoll, weil inspirierend,
wenn ein Interpret seine persönliche Geschichte mit einem Musikstück erzählt.
DANKE - und gerne weiter so !
Gruß aus Stuttgart, wo J.S. Bach vielfältig " gepflegt " wird !
Post Scriptum : 300. Geburtstag von Bach's Inventionen-Vorwort 1723 :
" am allermeisten eine cantable Art im Spielen zu erlangen "
( das Video hier kann das auf sehr persönliche Weise veranschaulichen ).
Fantastic
Wim,
This is a really nice series which makes us think more about the music than just the notes. When I had lessons in my latter years, my teachers would spend a good part of my lessons doing this kind of analysis. Today, this has become second nature to me and makes learning and playing music even more enjoyable as I seek out this in the music.
If you were to do another piece, I would like you to continue with Prelude and Fugue No. 3 in C#. There's a lot more to these two than meets the eye.
I'm collecting different parts of Beethoven's music to introduce the value of classical music to some students. Now after watching your VDO I take a step back. I never saw emotional interpretation like this on Bach. Thank you
A superb theological interpretation. Thank you, so inspiring!!!
A fine presentation that renders beauty to the music.
Delightful
I keep coming back to this analysis, and as my music education improves the goal of being able to play this becomes ever closer. But you help me dream.
Very nice! Thank you for this video! I like it very much!
I just started working on this piece. Your explanation is a huge help. Thank you.
This is wonderful Wim. Thank you for sharing your deep love of music and the fruits of all your in-depth studies. Anything which helps us get closer to the music of Johan Sebastian Bach is valuable and worthwhile. Wishing you the best - John
One of my first "major" pieces which I learnt for the piano. Nice interpretation and a very insightful video!
I would love to memorize this piece❤Describes what my emotion is and me struggling out of it😊
Beautiful interprétation
only a genius could make this happen, this creator kakes me realize that fact after looking ar his channel. He can explain the genius of Bach.
This was my first contest piece in the seventh grade in Wisconsin. We were rated, not against each other, but on a scale of one to five. The judge was apologetic while giving me a two for not having played it fast enough. (I played it considerably faster than this demonstration.) Today I would deem that rating appropriate, but not because of the tempo. I was merely playing the correct notes. I was not, however, telling a story. Fifty years later I am again playing c-minor, this time the double concerto in a small local concert not far from Eisenach. I hope we will tell an interesting musical story at an appropriate tempo and with the correct notes. Thank you for this reminder about what really matters in music.
Now in my late 50s, an ardent amateur pianist, how often I wish that my childhood teachers, fine as they were and whom I loved, had imparted also that I was not just "playing the piano" but telling a story using the piano. Learning grammar is part of school, too. But even at the late teen and college level, the drive to the annual recitals was too often about getting notes under the fingers than what you are saying, like learning to recite a poem phonically. Most professionals play their instruments in settings where interpretation is less important or is given by another (conductor), producing a bias in music training.
My connection with Bach's music is very mysterious. But hearing you talk about it is always a pleasure. Thanks for sharing your thoughts and knowledge. 🦫
Very nice contribution,- i like it!
Thank you Wim for your wonderful analysis of the Bach B Minor Prelude. It makes it so much more interesting to learn to play!
Extraordinaria explicación , saludos desde Chile .
40 years ago I listened to this movement. I was blown away. For me, it is a magical experience. Beyond the notes, did a good job of explaining the magic. Well, it is Bach and even in such a simple construction like this can you really understand what a genius is saying?
Beautiful playing and passionate explanation. I can not separate this prelude from the fugue. One resolves into the next so seamlessly.
This was great, very interesting, thanks!
My intuitions explained…so good…
Il tempo è allegro marcato con espressione e il finale è più vivace x poi spegnersi!
Thank you for shining a new light on this very difficult to listen to gem! I hear (and see) it in a new light. So happy I found yu.
The last 7 notes also set up the fugue theme-and its ending.
wonderful.. real music played and described by a real musician. Someone who really know, feals and seeks to understand... music. refreshing to say the least. I eas wondering if you could do something covering the evplution of Bachs work throught the years...
Simplesmente muito bem interpretado com uma musicalidade pura.Parabéns.
I need to listen this great piece differently from now that I got a different perspective of the interpretation. Thanks!
Mr Winters,
Thank you for your artistry and inspiration. I appreciate your work and perspective in this and your other series.
I am looking forwarding to more Beyond the Notes.
I wish you health and joy and many more rapturous musical moments.
-Dr D
you are a great musicman
Thank you for the excellent and passionate presentation. Thank you for making connections I was not aware of.
When I played this piece at school, I imagined a mysterious figure in the dark, walking quickly and decisively through a 1700s busy city in the evening, with a sense of great urgency or danger. All different city sounds and events happening all around, horse hooves clicking against the pavement. He eventually stops abruptly, hardly believing he had managed to reach his destination, and yet he hesitates to proceed forward. He eventually walks through the door with a feeling of momentary relief, but the real story is only about to unveil, the fugue begins... One of my favourite Bach pieces, loved your insights and interpretation, it motivates me to come back and learn it again as it's been years since I last played it.
This is such a beautiful and lyrical [in a very Bachian Baroque way quite different from, and yet no less emotionally moving than, Romantic-style lyricism] prelude. You asked about our story with this piece:
Since high school, I perceived this prelude as full of emotion and lyricism, and played it accordingly; and yet I would never ever hear any renditions of it that seemed to recognise it as such. Upon hearing Mahan Esfahani's rendition during the pandemic (which seemingly was only available on TH-cam for a brief period), I almost immediately teared up a bit, because of hearing for the first time in my life _someone else_ playing it according to the same manner of perception and communication of tone and mood in the music as I had myself been doing "in private" for 15 or so years. And now your rendition is also of a similar nature, with similarly tear-jerking beauties.
The double lower auxiliary notes occurring in 3rds and 6ths; the tensions and variations of tension in the harmonies; the clearly cello-like lyricism of the left hand (when played at a suitable speed); and indeed, the basic fact that this the opening minor prelude of the WTC follows the same basic pattern [one main harmony per bar, with each bar consisting of 8 semiquaver notes tracing out the harmony and then repeated] as the preceding, very opening prelude of the WTC: all these point _not_ to a fast-tempo mechanical exercise, but rather an exercise in coordinated melodic lyricism and in understanding the emotional depths of tonal harmony.
And also, I agree that while the Picardy 3rd is very common, it somehow is made particularly beautiful in how it occurs at the end of this prelude.
WoW 😊
Congrats that this video did so well ❤
11:56 Ah! Yes, the wonderful Tierce de Picardie! It uplifts my spirits at the conclusion of the Prelude…
Thanks for opening to us your thoughts about this piece, and discussing the potential for saddness at certain parts if it.
I am deeply intrigued by this. Puzzled too. I only associate feelings of happiness and sadness with color, not sound, thankfully.
So being both an artist and musician helps me understand how one might feel sad. In hearing this music. I guess. Hmmm.
I interpret the frequent shifts into minor as equally joyous and more 'delicious' actually.
I interpret it as one might feel great pleasure while eating a heavenly gourmet meal and feeling complete satiafaction.
Then the desert, ambrisoal and no less blissful, Is as much, if not more, satisfying.
At the moment I might not mind risking a bit of sadness for a piece of blueberry or cherry cheesecake. 😄
Thanks again. 💛
thank u
Wow! Finally got a chance to watch this, and of course it was amazing!! Please keep these videos coming! Fascinating! 😊
A very enlightening explanation of this Bach piece for a non-musician. It'll add an extra dimension to my music listening from now on.
As a young classical guitar learning a long time ago, I loved playing adaptations for guitar of Bach's music. Also menuettos, sarabands, and other pieces of early European music. As with Gould, after this early learning I found Mozart not only hard to grasp, but also repetitive, too foreseeable.
this was so useful - I love this prelude for first half but never understood the second half until now! it's making me appreciate this prelude (and the ending) so much more. thank you!
Until now I always have felt that Prelude No. 2 was a kind of a "simple" piece by the Great Master Bach. But now that this video has shed some light upon its hidden depth I feel very happy not having discarded it from my repertoire. Certainly the clavichord is an ideal instrument for it. Unfortunately on grand pianos some very unpleasantly mechanical interpretations have been spread. Thank your for your elucidations!
Getting to the essence of music - that is the way. I completely agree because that is exactly what I feel myself when I play music-notes of pieces that I love, although I may realize it in another way - but the principle is the same. BRAVO! Excellent upload.
You explanation satisfies me. Very well described.
Almost my way of understanding this prelude. even though you changeit for me. Thanks a lot!
This Prelude was never part of my piano lessons back in the days, but I always played it slower and more emotional than I knew it from any vinyl. To warm up your fingers, it's a nice exercise to play it fast, but there is no feeling at all. Thanks to TH-cam I could listen to many others. Mostly fast and cold except for Glenn Goulds interpretation. The confirmation I was locking for ;-)