Bach prelude and fugue in f sharp minor book 2

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bach prelude and fugue in f sharp minor book 2

J.S. Bach's Well-tempered Clavier - Online lesen

The gently swaying, two-part movement of the 'Prelude in F-sharp major', BWV , makes it sound deceptively simple. After a short canonic opening, the right hand is restricted to a somewhat rambling melody in an endless festoon of notes grouped in threes, whereby the first of the three is often missing. The left hand remains alert and adds the missing note, so that the upper voice keeps up. With only an occasional melodic outpouring, the bass gently and swiftly steers the melody to a safe haven. The fugue opens with a robust theme that is parried by a briskly bouncing second part. After crossing swords three times, the two voices find one another in cheerfully tumbling ricochets, with only very scant reference to the initial fugue theme. In the preludes, he gave free rein to his imagination, and demonstrated mathematical tours de force in the fugues.
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Angela Hewitt: Bach - Prelude & Fugue No. 14 in F-sharp minor BWV 883 - WTC Book II

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Prelude and Fugue in F-sharp minor, BWV 883 (Bach, Johann Sebastian)

The young prince only twenty-three years old in was a viola da gamba player of great skill and had an eighteen-piece orchestra of excellent caliber. Only a few cantatas were composed to celebrate royal birthdays and special occasions. He was now expected to produce secular instrumental music, and he did so, as was his custom, with great energy and all his heart and soul. Bach and the prince became close friends, and he often accompanied the prince on his journeys. Upon returning from a trip to Karlsbad in , Bach was confounded by the news that his wife, Maria Barbara, had died and was already buried. Their marriage was celebrated on December 3, , with four barrels and thirtytwo carafes of wine — almost a hundred liters!

The prelude begins with a hint of the Aria from Bach 's Goldberg Variations, but immediately proves to be a wholly independent piece, although this fantasie, with its rhythmically varied treble melody, retains much of the Aria's solemnity. This gives way to a triple motet fugue, with its even more solemn primary subject entering first in the tenor, then the soprano and bass. The form and initial manner of expression may seem old-fashioned, but Bach has a surprise in store: two further, smaller-scaled subjects appear, and by the end all three subjects have combined. AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to use the site fully. Blues Classical Country. Electronic Folk International.

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