Bach Prelude and Fugue in C minor WTC book1

[tonyyyy]

I am just starting to work at this, hands separate so far. The only part which concerns meis  the presto section of the prelude - I dont know if I will succeed in playing it at double the speed of the previous part

I have read this useful analysis https://www-personal.umich.edu/~siglind/wtc-i-02.htm
The usual choice of tempo seems to be...
 

Presto = twice as fast as the main section;
translation: 2 bars in bars 1-27 = 1 bar in bars 28-33
Adagio = twice as slow as the main section;
translation: 1 bar in bars 28-33 = 1 eighth-note in bar 34
Allegro = back to the original tempo
translation: 1 eighth-note in bar 34 = 1 quarter-note in bars 35-38.

She suggests the alternative....

Another option assumes a 2:3 proportion between the outer sections on the one hand and the Presto–Adagio on the other hand. While this option does not maintain the balanced structure mentioned above, it allows a simpler transition into the fugue. (Approximate metronome settings: (a) beginning beat = 72, Presto = 144, Adagio = 36, Allegro = 72; (b) beginning beat = 88, Presto = 132, Adagio = 66, Allegro = 88.

Anyone have suggestions about this or any other issues in the piece?

Im sure the fugue will have its moments when i start to put hands together

[nyonyo]

Listen to Glen Gould, he did not play this piece fast like most people, and his playing is 100 times better than most people's that were played fast.

In the prelude, he held many top notes of the right hand to make additional melody line.

I used to play fast, and it sounded meaningless. But now, I play Glen Gould way, and I love it.

[tonyyyy]

Thanks for the suggestion, nyonyo.
I have been trying the opening at different speeds and I am agreeing with you that slower is more meaningful. I will look for the Gould version , and will listen when I am further on with the piece (i try not to get influenced by recordings in the early stages of learning)

[go12_3]

Thanks for the suggestion, nyonyo.
I have been trying the opening at different speeds and I am agreeing with you that slower is more meaningful. I will look for the Gould version , and will listen when I am further on with the piece (i try not to get influenced by recordings in the early stages of learning)

You definitely will have your moments in this piece.  = )   just take it slow and concentrate on the fingering.  Once that is down pat, then make sure where the fingers are going in order to connect the notes and passages more smoothly.  Good luck and happy practicing!  It's a wonderful piece and one of my favorites.  = )  go12_3

[tonyyyy]

You definitely will have your moments in this piece.  = )   just take it slow and concentrate on the fingering.  Once that is down pat, then make sure where the fingers are going in order to connect the notes and passages more smoothly.  Good luck and happy practicing!  It's a wonderful piece and one of my favorites.  = )  go12_3

concentrate on the fingering

Yep - I m being disciplined  and just taking it phrase by phrase getting the fingering pattern in my head. I will let it speed up naturally when it is all comfortable. It will certainly become a favourite! Its already getting addictive

[term]

Listen to Glen Gould, he did not play this piece fast like most people, and his playing is 100 times better than most people's that were played fast.

In the prelude, he held many top notes of the right hand to make additional melody line.

I used to play fast, and it sounded meaningless. But now, I play Glen Gould way, and I love it.

Personally, i would not recommend goulds recording, neither his style nor his speed. I love gould, but his interpretation takes the life out of this prelude. It should be fast and vigourous and the presto section should, in my opinion, really be quite fast. The accents in the first sections are almost clumsily heavy and overemphasized, i would do a fine emphasis on the top notes and play them legato while playing the middle figures portato. But that's a matter of taste and it works the other way too.

I would not know what other advice you can get on the presto section than practise slowly, work your way up. But i think the articulation is important. It's very difficult, but worth the effort to play the presto section in staccato and with a very light touch.

[tonyyyy]

I have Gould's version now but will wait until I am further advanced in the piece before listening. I agree that the light touch is vital - on piano it can be rather thick and heavy sounding ; I am wondering about keeping some of the arpeggio notes ringing through, though. I am experimenting with a variety of articulations and havent settled on anything yet.

Personally, i would not recommend goulds recording, neither his style nor his speed. I love gould, but his interpretation takes the life out of this prelude. It should be fast and vigourous and the presto section should, in my opinion, really be quite fast. The accents in the first sections are almost clumsily heavy and overemphasized, i would do a fine emphasis on the top notes and play them legato while playing the middle figures portato. But that's a matter of taste and it works the other way too.

I would not know what other advice you can get on the presto section than practise slowly, work your way up. But i think the articulation is important. It's very difficult, but worth the effort to play the presto section in staccato and with a very light touch.