Reading Musical Interpretation: a case analysis of J.S. Bach’s Prelude and Fugue in B Minor (BWV 893) based upon framework and diagram established by Hellaby § Introduction and Literature Review This essay aims to discuss interpretations of‚ The Well-Tempered Clavier (WTC) II‚ through analysis of recordings made on the piano by three pianists whose names have been closely associated with Bach performance. The analysis is based on an approach established by Julian Hellaby. In his book ‘Reading Musical
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Baroque Music (ca. 1600-‐1750) IV! DEADLINE TODAY! DEADLINE TODAY! Henry Purcell. “When I am laid” from Dido and Aeneas. (also known as Dido’s Lament)(1689) hDp://www.youtube.com/watch?v=kEaLviMEJls&feature=related (starRng 1:00) Listen: Ground bass -‐ repeaRng bass line used throughout a work‚ oUen with a disRnct rhythmic paDern
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9 6. Fantasy in D minor‚ mm. 87-107 . . . . . . . . . . . . . . . . . . . . . . . . . . 9 7. Mozart: Fugue Opening from Fantasy and Fugue in
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How Bach has composed his Fugue in C Minor‚ BWV 847. Chelsea Hicks Johann Sebastian Bach’s was born on the 21st of March 1685 and died in 1750. He was a German composer‚ during the Baroque period. His Fugue in C minor was written in the middle years of his life‚ 1722. A fugue is a contrapuntal composition‚ where a subject is developed. It has 3 main parts an Exposition‚ Middle section and the Final Section. The exposition is where the subject/theme of the piece is first announced‚ and is
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The Cycle of 24 Preludes and Fugues. Modern Interpretations in the Russian Music GABRIELA VLAHOPOL Musicology Department University of Arts “George Enescu” from Iaşi 7-9 Horia Street‚ Iaşi‚ 700126 ROMANIA gabriela_vlahopol@yahoo.com Abstract: Although the pair prelude-fugue is naturally associated with Bach ’s Well-tempered clavier‚ modern treatments applied to fugues and to other forms belonging to the Baroque were relatively common in the 1920s and the 1930s. The waning interest for the imitative
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in many of his works. He was a master of contrapuntal arts and helped create the well-tempered tuning system we use to this day. In his lifetime Bach has composed over 1000 musical works. Prelude & Fugue in C minor is a song in Bach’s Well-Tempered Clavier written in 1722. It contains 24 prelude & fugue which shows the Well-Tempered tuning system that Bach help create. The Well-Tempered tuning is not exact‚ which makes it possible to play all 12 major and minor keys- which was never done before.
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writing (usually brief fugues). Outside Germany‚ Abraham van den Kerckhoven (c.1618–c.1701)‚ one of the most important Dutch composers of the period‚ used this model for some of his preludes. Southern and central German composers did not follow the sectional model and their preludes remained improvisational in character with little or no strict counterpoint. During the second half of the 17th century‚ German composers started pairing preludes (or sometimes toccatas) with fugues in the same key; Johann
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Bach is known for repeating a lot according to Johann Mattheson‚ and his playing skill on organ during that that was one of a kind where no one can compare. Even though during that time period there are other great player such as Frescobaldi and Carissimi‚ but Bach’s abilities to perform on keyboard have been way higher than their skill. In addition‚ Bach uses his composition as etude to help his student to master the skill on playing in clavier. He is known for adding ornamentation at the perfect
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Kretzschmar‚ a German musicologist‚ has notarized this piece as “unique among all the older fugues” and nicknamed Černohorský as the “Czech Bach”. Černohorský’s fugue ‘Memento Abraham’‚ which represents his musical talent‚ was used in two other works‚ one of which was the motet Precatus est Moyses. Černohorský’s fugue was acknowledged as one of the unique parts of both works. His last work to ever be performed was the fugue‚ Quem
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Mozart’s Requiem‚ in d minor K 626‚ was written in 1791. Franz Sussmayr‚ who was Mozart’s understudy‚ completed it. About half of the Requiem is credited to him‚ however analyzer’s today and of his day question whether he really did complete any of it due to the mastery of the piece. During Mozart’s illness‚ a stranger visited him. This man (who kept his appearance concealed) wanted him to compose a mass for the dead. He was obsessed at this point that he was writing his own Requiem and so although
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