e-book Prelude and Fugue in A Minor

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Henle HN Published by G. Henle HL. Edited by Keith Snell. Neil A. Kjos Master Composer Library.

Sheet music. Published by Neil A. Kjos Music Company KJ. By Johann Sebastian Bach Edited by Willard A.

Prelude and Fugue in g minor, BWV. (2 Trumpet | J.W. Pepper Sheet Music

Masterworks; Piano Collection. Alfred Masterwork CD Edition. Baroque; Masterwork. Published by Alfred Music AP. Band 1. Edited by Alfred Durr.

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This edition: urtext edition. With thematic index and introductory text. BWV Published by Baerenreiter Verlag BA. Band 2. Which keyboard to use? Analysis Style, tempo and articulation Fingering Notable performances Literature and online ressources A note on practicing. Like the C major Prelude, the C minor P introduces a rather simplistic chord progression , which can be summarized in generic terms without representing a transcription as follows:.

Prelude and Fugue, for keyboard in A minor, BWV 894 (BC L130)

As can be seen, the chords and their function do not pose material issues to understand what is going on. Also, there is very limited thematic development. Thus, the key to play the piece properly lies in choosing the tempo and achieve a proper articulation. Interestingly, the Prelude has been given tempo indications by JSB, in the sense that bar 28 introduces presto, bar 34 adagio, and bar 35 allegro. Such tempo indications are quite rare in JSBs keyboard music, and they are therefore practically always important. My view is that presto means very quick, but not as quick as possible.

This is not a Liszt etude, but a baroque prelude to a fugue. Therefore, even in the presto section, performers have to control their virtuosity and avoid overdoing it. Likewise, if bars 28f should be played very fast Presto , then the parts before it should be slower than presto, and there should be a contrast, which means that the rhapsodic chords up to the presto should be quite a bit slower than presto itself.

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However, there are many interpreters that start the prelude in a rush, only to have little reserves to realize a presto which is distinct from the preceding part. Here are some fingerings that work for me for the presto section please select zoom in to see details :.

Which means that we should not try to find a beat which we can then follow slavishly, but to treat bars 34 - 38 as a section that provides freedom of expression. This freedom should be used in the most natural way, like finalizing a speech. The three-voiced texture, as we might expect, carries over to the fugue, which starts with a rather long subject.

The tackle the fugue with a rather speedy pace, breaking up the long subject with different articulations.

BWV 538 - Toccata & Fugue in D Minor "Dorian" (Scrolling)

He plays with a common articulation in all three hands, but I fear takes the tempo of the prelude way too fast. Almost everyone takes the prelude way too fast for my taste.

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Once I heard his performance Philips Classics , nothing else would do.