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Keyscapes for J.S. Bach's Well-Tempered Clavier, Books 1 & 2
Bach - Fugue No. From: The Well-Tempered Clavier.
Mp3 played by Paulo Elpidio A. Sampaio, piano [Creative Commons Attribution 3. Write down your comment. You are not connected, choose one of two options to submit your comment: Login:. Was this review helpful? Just a heads up. The Prelude on page 2, line 1,is missing a measure between printed m. Follow this composer Be informed by email for any addition or update of the sheet music and MP3 of this artist.
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Shinji Ishihara – Toccata And Fuga C Major Bwv Fuga – Slušaj na Deezer-u
Romanian Folk Dances. Here is a brief map of what happens in the prelude:. Please note that in the above score, I have grouped the two bass tones and the upper chords separately. This is because in JSBs original score, the 2 bass notes sustain and form the basis of the chord progression.
If you play just the bass staff of the above score, you will see that there are some melodic effects that this makes, which are not audible if one just plays each 5 tone chord upper and lower staves. In connection to this topic, the performer has to decide as to whether the 16th notes of the right hand should be sustained until the end of each arpeggio, or if they should be held only as long as the notation indicates.
In my view, both variants are viable, it depends on the overall design This prelude is technically easy to play, so there are no fingerings to be discussed. It is equally easy to understand the few harmonic progressions that it comprises. However, as easy it is to understand what happens, and to technically master the few chord arpeggios, as difficult it is to play this prelude adequately and, if I may say so, tastefully.
Bear in mind that this simple piece of music is the entry into a world of highly complex counterpoint music. Mattheson, in order to defend the traditions of the German polyphonic music. In this context it is almost ironic that JS Bach begins his highly sophisticated collection with something as naive, simple and innocent as the C maj P. Which leads me to my personal conclusion, that this piece is not up for "romantic" interpretation.
Prelude and Fugue, for organ in C major, BWV 547 (BC J11)
If you play the C maj, think about it as embedded into something bigger i. It clearly is a very beautiful piece of music, and it should be treated with respect and diligence. No strong rubatos, no "search" for hidden melodies, no big interpretational concepts, no wanted or even worse: unwanted tempo changes. Please leave it as what it is - a reduced sequence of chords, arpeggiated, with a beauty that lies in its simplicity, not in major interpretational efforts of the artists, who longs for something to "happen" in the music he plays.
Save your interpretational energy for the later pieces, you will need them there. If you want to listen to a beautifully simple interpretation of the Cmaj Prelude, I recommend Friedrich Gulda's recording.
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He has obviously understood what this prelude stands for. Glenn Gould , as a comparison, presents the prelude in a quite artificial phrasing, which even changes a lot throughout the short piece, and while this might sound somehow interesting, in my opinion it misses the point. Very nice also Jando, Hewitt, Koroliov, Richter a little romantic, but well dosed , and many others.
For the harpsichord, listen to Hantai.
A surprise: Andras Schiff's version is quite dramatic and not really convincing , while his version is simple and beautiful. The price for celebrating the C maj very slowly and with lots of rubato goes to Tureck.
Its a quite dense piece of counterpoint, however, as should be expected, there are far more complex fugues in Book 1 than C maj. Thus, the fugue C maj is a very balanced and suitable opening piece to the work. For performers, it is important to understand the overall architecture of the fugue.
It starts with a regular exposition through all 4 voices in bars