Bach - Prelude and Fugue in F major, BWV880 (WTC II)

[andhow04]

this is the prelude and fugue in F from the second book.  i don't have enough good things to gush about this set.  the prelude is one of those inimitable pieces of bach that from the first note puts you in a state of reflection; it is just one of those pieces that makes you glad to be alive and playing the piano.  or listening i hope.  the counterpoint is dense but so perfectly balanced, and the harmony - ! in the obituary, bach is described as the greatest harmonist of all times, and you can see why in preludes like this (in some ways i think the Bflat major from book II is related). there is less emphasis on cadence, but the harmonies pass by in shades, in stronger or lesser hints.  i find myself captured by the rhythm of the harmony above all else, even though there are so few strong cadences.

the fugue is a big contrast, it is very playful, witty, and you have to be fast on your toes to catch the complicated counterpoint, especially syncopations between the upper two voices. the ending has a perfect virtuoso flourish.  this is one of the best prelude and fugues for a concert performance, i think.

here's a link to the F majro from the first book:
https://www.pianostreet.com/smf/index.php?topic=42418.0

enjoy


UPDATE: 3.8.13 - posted a new version that has more clarity in the fugue, and better shaping in the prelude. i was distressed to listen to my old version much later, and find it almost completely flat in dynamics, which was never what i intended.
(13)

[ramseytheii]

The prelude is played wonderfully, and magically.  It is perhaps a hair too fast for my taste, but it tells the story of this prelude in a most engaging way.  The voice-leading is excellent.

For me, the fugue is just too fast.  Nobody today has the courage to try the tempos of someone like Wanda Landowska, whose tempo is probably at least half this speed.  But her fugue truly dances, and truly breathes.  The pianism is excellent, but because of the tempo, I think the effect of the 32nd note scales at the end is dampened if not lost, and they could be more articulate.

Incidentally, I love Glenn Gould, who plays much faster tempos (and also from time to time much slower) than Landowska, but I feel people often imitate his tempos but don't capture his characters.  He also understood how to make Bach's music dance.

There's been a lot of Bach in the audition room, that's a good thing.

Walter Ramsey

[sashaco]

I found both pieces delightful.  What interests me in reading the two posts, andhow, is that you yourself seem to be anticipating Walter's comments.  You describe the prelude as putting "you in a state of reflection" and you talk about the absence of strong cadences.  Most listeners will not know the piece as well as you do, and in order to help them reflect and to savour the unfulfilled cadences you might need to employ a hair slower tempo.
You write that "you have to be fast on your feet to catch the counterpoint" in the fugue, and again, the listener just gets one shot- you the player have had hundreds.

I'm not arguing that Walter is "right" about the tempi and you are not, but that the very things you want to convey might be clearer at tempi closer to what he suggests. 

Thanks for posting these.  I am working on a couple things in WTC I, and you have given me some inspiration.

Sasha

[alessandro]

I don't know what it is but when I write 'longer' posts, the blank-pianoforum-square I'm actually writing in makes it difficult for me to actually see what I'm writing in the end (I don't know if you face the same problem), but this beside...  

Well, andhow04, I just listened and I'll try to give some nice reply to your generosity and artistry.   I enjoyed both ! And just adding something on the wave of "speed" I'm surfing on thanks to Walter Ramsey and Sashaco.   Indeed, I can agree that the fugue (is it a little overpedalled, I don't know) can stand more swing and fingerpopping joy, right, and the (freshness) is for me not (necessarly) to be found in your tempo.  Your tempo is here your tempo (that sounds clever).  
What I do like, and what is often so special in Bach's preludes, is the adequate slowness.   Fastness, in my ears, when too fast, just breaks the music into bits, it makes the piece crash, "kaputt", over and out, it is for me clear in a plain way when it is too fast.   Fastness, when too fast, is obvious and a very simple thing.   But, too slow is something very different in perception.   Of course, I can hear "quite" easily (but is not that obvious as in "too fast") that a piece is too slow.   For me, it is a challenge to find the right slowness (and not the right fastness), isn't that strange ?   The piece decomposes when played too slow, it melts down in a certain way, but it is so beautiful when someone finds the right tempo (slowness) while playing.   And I experienced this, let's call it, alchemy, some sort of hypnotic effect, some sort of magic that I particularly find and like in Bach's music in general and in your rendition of the prelude.   It is sounds like - this can sounds cheap, but I cannot find the appropriate poetry for it now - heartfelt affection, fervour.   I don't think you can obtain this appropriate slowness when starting slower.   Thanks a lot andhow04 and kind greetings to you all.

[scottmcc]

andhow, as usual i am impressed by your bach.  I think one of the things that I like so much about the WTC is the diversity of interpretive possibilities it affords.  walter may prefer a different tempo than you, and if I were to play this piece I'd probably choose a third.  but they're all valid choices, and that's where the skill of the artist is allowed to show through.  you've clearly made these pieces your own, and I like it.

[andhow04]

thakns to everyone for responding to this prelude and fugue.  personally, i think it is among my best playing in the ones i have recorded so far and i was afraid it would go unnoticed!  tempo is sucha  personal issue and it is impossible to listen with someone elses ears.  i feel in the prelude , perhaps not modestly, that i am getting across just what i want; i can agree that the fugue is on the fast side!
i ahve several recordings of WTC and this prelude is played fast to very fast.  glenn gould's is fas, and ralph kirkpatrick on the clavichord plays it very fast.  i dont know if they know something i dont, but i deliberately took a slower tempo because of the texture.
thanks again

[kellyc]

Actually I have enjoyed the tempo of the Fugue. To me it seems there is something different going on here. When you work with an orchestra , and new motifs are introduced by different sections, there can be a tendency for those sections to rush there entrance. That can give the feeling of the whole composition that it is being rushed, which isn't really the case. A Bach fugue on a keyboard instrument is very much like that. As each different voice is introduced and heard from , a oh so slight almost imperceptible rush of the attack can give the piece a feeling that it is being rushed and in actuality it is not.

I think in stating these thoughts I am being a hair picky, but perhaps it will be of some help in your artistic vision. Actually you did a beautiful job with this  presentation.

Please Continue your find posting of Bachs work. It is very wonderful to listen to.

Kelly

[andhow04]

that's an interesting comment, but do you mean to say that each entrance is slightly rushed?  or is it just that the accentuation of the entrances gives the effect of rushing.
thansk for listening!

[kellyc]

Hello again. What I'm referring to more is the first few notes as each new motif starts, are just almost imperceptibly not quite in time. It is such a fine thing, that you have to listen over and over again. It may not apply at all to what you are doing. I only mention it as one possibility rather than what others say about you playing the fugue a hair to quick.  I have seen our conservatory orchestra conductor work on this over and over again with different sections of the orchestra.

Hope this makes sense, but of course when music is being played at the level you play at, finding answers to how we perceive the music is not easy .

Kelly