UPDATE: 2/25/13 i replaced this with a new version, as i gave this most difficult fugue time to settle in, iw as able to clarify my thinking on the piece, and also relax the technique a little bit. the previous version was somehow riddled with small little mistakes, like split notes, that i think was the result of the piece not really being settled. the difficulty of the voicing, and of how the music unfolds, i think only dawned on me slowly, and i recorded it originally after only having spent a week learning it.
after a few weeks hiatus i am resuming the well tempered clavier project.. had some importnat concerts and other things to attend to and even though i was able to practice bach was not able to record anything!
here is the magisterial final prelude and fugue from the first book. the prelude is in three parts with the beloved walking bass line underscoring a very unornamented but rich dialogue between two sustained upper voices. one of his most beautiful and accessible works..
the fugue is of course famous for using all twelve chromatic tones in the subject. that, coupled with the somewhat unmelodic contortions bach has to do to make a suitable answer, makes the harmony the most "modern" or at least un-baroque sounding; it also makes the winding pathway through the piece harder to grasp, i think. landowska aids the listener by making grand pauses at strategic spots, which i love but couldn't copy. this is one of those fugues that is difficult in conception and design, and challenges the pianists sense of touch; this is only my first try at it and i am sure i will return to it in the future. hope you enjoy
here's b minor from the second book:
https://www.pianostreet.com/smf/index.php?topic=44956.0(33)