Those pieces certainly are a fitting end to Book one. I've heard it said that the crossing notes of the walking base in the prelude was a symbol to Bach of the Cross, and that Bm was a key that especially held that symbolism. The use of disonance, but with the episodes of tender consonances you mentioned, in the fugue really is emotionally moving. I liked the pace at which you played the pieces, dwelling on both of them and playing the repeats in the prelude. Holding that final B major chord was a wonderful way to end. Thanks also for redoing this video after your original recording for these two pieces ended prematurely. Have very much enjoyed this series and am looking forward to the forthcoming final week.
Bravo! The walking bass emphasizes the retrospective nature of the set-the constantly shifting harmonies, in contrast to the more galant pieces, in which Bach gives us a simpler bass line, often a drum bass, or even a Murky bass.
Those pieces certainly are a fitting end to Book one. I've heard it said that the crossing notes of the walking base in the prelude was a symbol to Bach of the Cross, and that Bm was a key that especially held that symbolism. The use of disonance, but with the episodes of tender consonances you mentioned, in the fugue really is emotionally moving. I liked the pace at which you played the pieces, dwelling on both of them and playing the repeats in the prelude. Holding that final B major chord was a wonderful way to end. Thanks also for redoing this video after your original recording for these two pieces ended prematurely.
Have very much enjoyed this series and am looking forward to the forthcoming final week.
no words for this fugue ... but all superlatives !!!!
Bravo! The walking bass emphasizes the retrospective nature of the set-the constantly shifting harmonies, in contrast to the more galant pieces, in which Bach gives us a simpler bass line, often a drum bass, or even a Murky bass.