For each Fugue, the score separates the voices into their own lines, so you can see how all of them fit together. The Fugues, in particular, are quite special in this video. Reading and listening to this Bach masterpiece just got easier with a new video that combines two open source scores with the piano playing of Kimiko Ishizaka to present you a complete performance of the Well-Tempered Clavier. To fully comprehend how this music is crafted, it is necessary to read it. Hearing and understanding everything that is going on is not straightforward, and it is not something that can be achieved just by listening, even after many repeat listenings. But it is also very complex music, with many voices doing many things at the same time. Once again a final statement of the subject in the pedals gives the piece a satisfying sense of completeness.Bach’s music expresses joy, sorrow, excitement, and a profound beauty. As with the ‘Little’ Fugue in G minor, the fugal working out is not particularly rigorous after the exposition, but there is a greater feeling of unity to the episodic material. There is considerable doubt as to how many of the great preludes and fugues, including many in The Well-tempered Clavier, were actually conceived as pairs, but there can be no doubting the feeling of unity between these two pieces given by the taking over of the upbeat quaver figure of the prelude by the fugue subject itself. But here there is a greater intensity and concentration to the rhetorical gestures, and the grinding off-beat chords of the second half of the prelude have a power not found in Bach’s models. The most succinct is the ‘Little’ Prelude and Fugue in E minor, BWV533, which has the characteristic manual flourishes, pedal solos and homophonic passages making much use of suspensions and other dissonances found in the works of Buxtehude and Lübeck. There is a substantial group of works which demonstrates different approaches to the North German Präludium.
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