By David Ledbetter
Bach's "Well-Tempered Clavier" (the forty eight preludes and fugues) stands on the middle of baroque keyboard tune and has been a version and notion for performers and composers ever because it used to be written. This advisor to the ninety six items explains Bach's a number of 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 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 kinds and Bach's novel enlargement of them; explains Bach's tools and thoughts in keyboard process within the common context of early 18th-century advancements; stories instructive and theoretical literature when it comes to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical purpose while composing the "Well-Tempered Clavier". Ledbetter's commentaries on person preludes and fugues should still equip readers with the strategies essential to make their very own evaluate and contain information regarding the assets while info of notation, adorns and fingerings have a referring to functionality.
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Extra resources for Bach's Well-tempered Clavier: The 48 Preludes and Fugues
458). Their style was particularly associated with the clavichord as a ‘new’ instrument. E. e. in the 1740s). 433). 18 There is nothing here that we cannot readily believe of Bach. 102), the short octave being an economy that made more sense on the organ than on a stringed keyboard instrument. 61). G. Walther (1732 article ‘Clavicordo’) describes it as the ‘first grammar’ of all keyboard players. The word grammar has a pejorative ring, at a great distance from the fully developed artist’s concerns of rhetoric and declamation, just as the basics of notation are at an infinite distance from the art of playing well (François Couperin 1717 Preface).
Most relevant to Book I is the Clavier-Büchlein for Wilhelm Friedemann. The Book I preludes there (entered over the period 1720–2) stay within the four-octave compass, but the Menuet BWV 843 immediately before them (entered 1720–1) requires GG. Both the two-part Invention and the three-part Sinfonia in E major (BWV 777 and 792) require BB. At the other end of the compass, the Clavier-Büchlein does not exceed c"'. 81), the GG in BWV 843 being unique in this respect. A clavichord with this keyboard would have been a rarity indeed, but harpsichords in Bach’s area commonly extended to AA, GG or even FF (Henkel 1977, 1989).
His prowess as a harpsichordist must have been as notable as that as organist, if the story of the Marchand competition is anything to go by, and the fact that Prince Leopold appreciated this is reflected by the stream of ensemble works with virtuoso harpsichord participation that Bach produced at Cöthen, when his involvement with the organ lessened, works that include the Fifth Brandenburg Concerto and sonatas with obbligato harpsichord. This continued in Leipzig, with the second part of the Clavier-Übung (1735) and the harpsichord concertos in the late 1730s.