Angela Hewitt: Bach - Prelude & Fugue No. 22 in B-flat minor BWV 891 | WTC Book II
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- เผยแพร่เมื่อ 28 ก.ย. 2024
- From the Wartburg, Eisenach, 2000
The Well-Tempered Clavier Book II
Angela Hewitt - piano
Johann Sebastian Bach - Prelude & Fugue No. 22 in B-flat minor BWV 891
Watch other Bach´s Preludes and Fugues of The Well-Tempered Clavier: goo.gl/LwM6i4
Subscribe to EuroArts: goo.gl/jrui3M
The title of Bach's Well-Tempered Clavier refers to the new system of tuning keyboard instruments that had been developed by, amongst others, the Halberstadt organist Andreas Werckmeister (1645-1706), to make it possible to play in all 24 major and minor keys, something which hitherto had been impossible with "mean-tone" tuning. There were, however, several such "well-tempered" tuning in use at that time, and, contrary to earlier assumptions, there is simply no evidence that Bach wrote his two books of preludes and fugues for our modern "equal temperament", which is but one of several possible tunings.
Whatever the case, for him the tempered tuning meant that he could use all major and minor keys to present a systematic, state-of-the-art compendium of the fugue form, which was then at the very peak of its development. Intended "both for the use and consumption of the eager-to-learn musical youth and as a special pastime for those already skilled in this discipline", Bach compiled the first part of his Well-Tempered Clavier in 1722; this was near the end of the period he spent in the service of Prince Leopold of Anhalt-Cöthen - an essentially happy time for Bach, but marred by the sudden death of his first wife in 1720.
When the second part of The Well-Tempered Clavier was completed in 1744, comprising another 24 fugues together with introductory preludes, Bach had already been Thomaskantor in Leipzig for more than 20 years and the fugue was no longer in vogue. This documental review almost seems to have been an attempt on the great composer's part to halt the march of time.
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Canadian-born Angela Hewitt now lives in England. She won the Toronto International Bach Piano Competition in 1985, since which time The Sunday Times has called her "one of the outstanding Bach pianist of our time". She went on to win prizes at many other important competitions with praise at many other important competitions all over the globe, while her CD recordings of Bach works have been showered with praise and awards. Her comprehensive repertoire extends right into the present day.
Wonderful Bach playing, and though I've watched many of her videos, I've never seen the motion of her hands captured so clearly. They're so close to the keys and the movement is so economical.
The fugue is pure wild harmonic and contrapuntal invention and quite complex and difficult to play, probably around the time he was working on the art of the fugue ( some gestures resemble contrapunctus 4 ). I picture J.S Bach, so proud of this fugal epiphany. Love this masterful rendition by Angela Hewitt and perfect tempo choice.
I totally agree! This is by far my favorite recording of this underrated masterpiece. (Sadly my piano teacher let’s me play pathetique but not this, saying it’s too difficult:( )
@@theartgoose with due respect to Your teacher, probably Bach would be happy that you try it, perhaps bit by bit, so much things to learn from just one or two bars here.
@@theartgoose Pathetique, with it's own obvious difficulties, is much less difficult... on so many levels... than this fugue.
It is, believe me.@@theartgoose
You can't even imagine how much I like J S Bach! He is a genius.
That's why Bach is no.1 supreme composer because his aim of music is to refresh the soul and honour God. Mozart is ranked 2nd because his music was composed for entertainment (low level). Beethoven is ranked 3rd.
@@mtv565 I'm not sure about God. I think he was more interested in constructions of the compositions and melodies than in religion. For me, he is more like a scientist of music.
@@mtv565 Beethoven definitely above Mozart
@@jamessmith5748 Bach did have a lot of influence from religion:
"Bach's deep knowledge of and interest in the liturgy led to his developing intricate relationships between music and linguistic text.
Many of his sacred works contain short motifs that can be regarded as pictorial symbolism and articulations of liturgical concepts. For example, the octave leap, usually in a bass line, represents the relationship between heaven and earth; the slow, repeated notes of the bass line in the opening movement of cantata Gottes Zeit ist die allerbeste Zeit, BWV 106) depict the laboured trudging of Jesus as he was forced to drag the cross from the city to the crucifixion site."
@@jamessmith5748 : I'm telling you, it's a fact that Bach's music is mostly to honour and praise God.
Cette fugue est une cathédrale!…Je l étudie pour le moment, et pense que c est une des plus difficiles avec tout ces tenuto à respecter ces thèmes à mettre en valeur .
Merci pour ce grand moment , cette magnifique interprétation , et du prélude , et de la fugue
Bon courage!
your interpretation is wonderful !
Many compliments from Rome, Italy!
I prefer this over goulds version, it's more lyrical and sweet
You have to listen to and admire Gould's version. But it always sounds like he's drunk a glass of vinegar before he sat down to the piano.
Divine! Thank you very much!
Magnífico!
Fugue starts at 3:22
Thanks!
Thank You!
BEAUTIFUL !!
strict tempo works well on the Fugue (at 3:22) on the first 7 or 8 measures - then he begins his tortured descent into atonal cleverness. First one key, then the other and it is not clear anymore where you started or where you are going. As if in a labyrinth he lays out, where only he fully 'gets' the harmonic thought and where it leads and how it unfolds. Peck away and deliver some sense of order if you can. Or just say fuck it and play at strict tempo. Probably the wiser choice. Hewitt does this well.
Who said when you hear Beethovan you hear what it's like to be Beethoven, When you hear Mozart you hear what it's like to be human but When you hear Bach you hear what it's like to to be the Cosmos.
Con el piano todas las notas suenan ligadas.
Magnífico!
Angela Hewitt is a wonderful pianist, I have heard her play several times and her recording of Bachs Toccatas are unsurpassed I think .This is also a very fine interpretation. But having just heard Sokolov play this, I feel that he has a" gear" that Hewitt and all other pianist I have heard are lacking in this repertoire.
The fugue, I believe, is one of Bach's masterworks, comparable to his organ fugues
Je pense exactement la même chose.je crois que Bach pensait à l orgue lorsqu il l’a écrite,c est du contrepoint et beaucoup de tenuto.Bach est le Père de la musique et le plus grand compositeur de tout les temps.
and the prelude is a could be organ trio sonata!
Nice . Thankyou .
I love Bach .
The same note shape can be seen in WTC1-22's b-moll prelude and WTC2-22's b-moll prelude.from 3 measure to 4 measure . (b-b-b-a-b-c-c-c )
C'est bien joué pianistiquement parlant; une leçon parfaitement récitée mais dénuée d'émotion à un point impensable: Schiff a fait nettemenjt mieux mais 2 versions parmi celles que je connais dépassent tout: Richter et enfin Schwann; là au moins, il se passe quelque chose. Le tempo évidemment, mais pas que...
Love this Bach video series
Rastgele bir BWV sallıyorum, her çıkan ayrı bir şaheser. Hakikaten insanlık medeniyetinin pik yaptığı bir zamanmış bu BACH'ın devri. Helal olsun sana BACH umarım ışıklar içinde uyuyorsundur.
Anyone who is unsure about what Bach meant when he advised students to “achieve a cantabile style in playing” should study Hewitt’s performance of the prelude. In part, this is made possible by the extreme flexibility of the MCP joint of her thumbs (and of her fingers in general) which allows for a difficult finger legato execution.
Excellent!
Leitmotif 200 yrs in advance in the prelude. A simple theme at the same time rustic and religious.
Моя любимая. Настолько правильно выстроена…❤
my god - watching her hands dance across the keys is as beautiful as hearing the notes they play!
❤️❤️❤️❤️❤️❤️❤️
Sublime
How fantastic to have such sustained unobstructed views of Angela's hands playing this masterwork - she makes it look so easy, like, even I could do it - HA! No way. Thank you Bach, Angela, and EuroArtsChannel for this extraordinary series. It would be nice to have the venue identified with its Moorish architecture... anyone know?