Download e-book for kindle: Bach's Well-tempered Clavier: The 48 Preludes and Fugues by David Ledbetter
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 used to be written. This consultant to the ninety six items explains Bach's numerous reasons in compiling the song, describes the wealthy traditions on which he drew, and offers commentaries for every prelude and fugue. In his textual content, David Ledbetter addresses the focal issues pointed out via Bach in his unique 1722 identify web page. Drawing on Bach literature during the last three hundred years, he explores German traditions of composition kinds and Bach's novel growth of them; explains Bach's tools and techniques in keyboard strategy within the normal context of early 18th-century advancements; studies instructive and theoretical literature in relation to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical reason whilst composing the "Well-Tempered Clavier". Ledbetter's commentaries on person preludes and fugues should still equip readers with the recommendations essential to make their very own evaluate and contain information regarding the resources while information of notation, embellishes and fingerings have a concerning functionality.
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Extra info for Bach's Well-tempered Clavier: The 48 Preludes and Fugues
A much wider range of tonics is in Fischer’s Ariadne Musica Neo-Organoedum (1702), which has all but C sharp and F sharp majors, and their relative minors, and G sharp minor. 35 The verset tradition from which Ariadne Musica sprang is on the face of it the most convincing link between the 48 and the organ. Bach’s organ students at Weimar had to contemplate the possibility that they might have to function in a Catholic church. 36 Some early sources of preludes and fughettas subsequently used in Book II suggest that Bach at Weimar may have been compiling a teaching collection similar to Ariadne (see Chapter Three section 1).
E. Bach provided to illustrate the first part of his Versuch (1753), with their mercurial changes of mood and style, multiple dynamics, and clavichord-specific effects. S. Bach’s clavier works would such overtly emotional performance be in place outside the Chromatic Fantasia, significantly one of Bach’s best-known keyboard pieces in the later eighteenth century, yet awkward to play on the sort of clavichord Bach might have had around 1720? F. E. 458). Their style was particularly associated with the clavichord as a ‘new’ instrument.
46 In assessing the valuation (30 thalers) of the instruments in Bach’s estate, possible compass and number of manuals have to be set against the objective value of materials and craftsmanship in a curiosity instrument that was going out of fashion. The lute in the inventory was valued at 21 thalers, and three ordinary harpsichords at 50 thalers each. Which of Bach’s works may have been conceived for the Lautenwerk is also very uncertain. He may have used it only for improvisation, or have played works by lutenists: there is no great difficulty in playing on the keyboard from lute tablature.
Bach's Well-tempered Clavier: The 48 Preludes and Fugues by David Ledbetter