By David Ledbetter
Bach's "Well-Tempered Clavier" (the forty eight preludes and fugues) stands on the center of baroque keyboard tune and has been a version and idea for performers and composers ever because it was once written. This advisor to the ninety six items explains Bach's numerous reasons in compiling the track, describes the wealthy traditions on which he drew, and gives commentaries for every prelude and fugue. In his textual content, David Ledbetter addresses the focal issues pointed out through Bach in his unique 1722 name web page. Drawing on Bach literature over the last three hundred years, he explores German traditions of composition varieties and Bach's novel enlargement of them; explains Bach's tools and ideas in keyboard method within the normal context of early 18th-century advancements; reports instructive and theoretical literature on the subject of keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical cause while composing the "Well-Tempered Clavier". Ledbetter's commentaries on person preludes and fugues may still equip readers with the suggestions essential to make their very own evaluation and contain information regarding the resources whilst info of notation, adorns and fingerings have a touching on functionality.
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Additional resources for Bach's Well-tempered Clavier: The 48 Preludes and Fugues
Some pieces may be closer to prototypes associated primarily with the organ and may therefore be effective as organ pieces,39 but the sort of publications these prototypes appear in usually give a clavier alternative to the organ. E. 85–6) the organ works are given as ‘für die Orgel’, but both Books of the 48 as ‘fürs Clavier’, which looks as if we are left with the distinction between organ and clavier. 6. 492–3). F. Agricola (who studied with Bach at the time when he was putting together Book II) of a Lautenclavicymbel made for Bach by the organ builder Zacharias Hildebrandt around 1740.
110–11). 153–4). Elinor von der Heyde-Dohrn has made an elaborate subjective case for the organ, with good points (1978). Unfortunately the instances she cites point up the distinctiveness of Bach’s organ writing as opposed to the 48. For instance, the D sharp minor Fugue of Book II has in common with the D minor Fugue BWV 538/2 (the so-called ‘Dorian’ fugue) a D tonality, and a scalar ascent with syncopations in its subject, but there the similarity ends. The quality of intense personal meditation, with a very sensitive and detailed manipulation of texture, in the D sharp minor fugue has little in common with the broad achitectural paragraphing and public rhetoric of the ‘Dorian’.
259) thought that pieces without rests cannot be for harpsichord because manual changes are not possible. Such 14 Clavier attitudes are difficult to understand now unless one remembers that from the 1930s to the 1960s the great majority of harpsichords made in Germany were of an ‘improved’ modern type which had neither the quality of sound nor the responsiveness of instruments of historical construction. Our knowledge of all keyboard instruments in Bach’s environment, and particularly the harpsichord, clavichord, pianoforte, and even the Lautenwerk, has increased immeasurably since then.