Angela Hewitt: Bach - Prelude & Fugue No. 16 in G minor BWV 885 | WTC Book II
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- Опубліковано 3 лип 2024
- From the Wartburg, Eisenach, 2000
The Well-Tempered Clavier Book II
Angela Hewitt - piano
Johann Sebastian Bach - Prelude & Fugue No. 16 in G minor BWV 885
0:00 Prelude
3:56 Fugue
Watch other Bach´s Preludes and Fugues of The Well-Tempered Clavier: goo.gl/LwM6i4
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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.
The fugue makes me break down in tears every time. What a glorious piece of perfection.
I could have made that same comment...
My favorite prelude and fugue piece from the WTC played absolutely amazing
GORGEOUS! ~ piece, pianist, performance, place. Angela's Bach is unsurpassed. Bravo Angela!
This set (Prelude & Fugue) is Bach at his most inventive. Wonderful music & interpretation.
I love her climax and coda for the fugue. The subject was extremely clear too. The balance of the bigger notes at the end and quieter ones in the middle was wonderful.😄
I find this such a difficult fugue to play but it’s one of my favourites. To articulate and differentiate the subject and countersubject and maintain their rhythmic distinctiveness but simultaneous co-dependence I am trying to do but haven’t managed it properly yet.
The fugue, I'm guessing?
I just cried for 2 minutes, it's so beautiful!
So good! Amazing performance!
Epic beauty. Profound understanding. !!!
4:42 my God. 😭😭
Top notch playing, You are n. 1!!!! Brava Angela
Wonderful interpretation!
Love this performance!
Just for amusement, note that the harmonic structure of the subject of the fugue fits the “I’m a Barbie Girl” song…
Quite enjoyable.
3:57
I have never heard a performance of the prelude quite like this - so still and calm and quiet! I love it.! The "French" (dotted, jerky) rhythms (which to be honest I always find disagreeable in Baroque music) are somehow transfigured into something other than the tiresome "royal procession" into something that may be grief-stricken, or tired or weak or failing... until the vigor of the fugue comes along to revive (us?).
She is one of the only interprets that don't follow Henle's remark in the appendix that dicates to play the dotted rhythm as double-dotted. She plays like Glenn Gould. But Andras Schiff, and many others play a more normal double-dotted rhythm. Anyone has more information on the reasons?
The way Baroque music was notated does not always correspond to how it should be played, and there's often an element left up to the interpreter. This piece clearly references the French overture style, to which the double-dotted rhythm sounds closer in this piece.
You are right. I use mugelini edition and some notes are dotted rather than double. They are actually nicer
Prelude makes me feel as if Bach was just a trickster, then Fuque make me feel the brilliant mind
Re-surfaces in a fine transformation in Schumann’s lovely Dichterliebe describing the Rhine.
awesome Incrível
La vida en esta pieza❤
I play the prelude about twice the speed and it's more effective
The layering and syncopation of the voices is more evident and impressive
Makes me feel like a Queen in a royal court ruling over the world
Fugue 3:55
Is it not possible to have UA-cam advertisements of other UA-cam videos not being displayed before the video being watched ends? In this video these trailers came on 20 seconds before the end of the video, spoiling it completely.
Please remember that this is a feature of UA-cam so that UA-cam and copyright owners make money -- and the person who posted the video is not responsible
I like her performance