Bach Prelude and Fugue No.8 Well Tempered Clavier, Book 1 with Harmonic Pedal
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- Опубликовано: 4 мар 2017
- Listen to my Bach Prelude and Fugue album on the Streaming Platforms!
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In this recording I used the 4th harmonic pedal in resonance position only. The harmonic pedal was invented by Denis de La Rochefordière.
My Patreon link for those that like to support online content creation from as a little as 1$ a month - thank you! / paulbarton
The sheet music featured in this video is in the public domain and differs occasionally from my Tovey & Samuel edition, which I used in this recording, published by the Associated Board of the Royal School of Music, which isn’t.
Download “Bach - Well Tempered Clavier” public domain sheet music from the IMSLP Music Library: goo.gl/8JXFdr 
Видеоклипы
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The Prelude is absolutely heart-wrenching.... Congratulations on the great performance!
First time I heard this I could not believe it was Bach. I thought it was someone of the late 1800. I clearly know nothing of classical music, although I listen to a lot of it, and I do not have any formation, but this is definitely very modern and ahead of its time. Just incredible.
This sounds like late baroque
Many people still don't know how beautiful baroque music is and it makes me genuenly sad. They all think that baroque is boring and has no soul but that is not true. I'm glad you did explore the beautiful side of baroque!
@@pavaomrazek btw I love baroque music. It's my favourite type of classical music. It's just...this doesn't sound like baroque to me at all! Sounds a lot more modern. I guess the fact this is played in a piano rather than the clavier is tricking my brain
@@gmmgmmg Yes, it may be the piano and the choice of slower tempo, but I agree, you don't hear many harmonies like that in baroque for sure! It's just Bach... 100 years ahead of everybody else.
@@pavaomrazek yes, I find baroque music to sound absolutely beautiful in an ethereal, almost divine way.. while this sounds beautiful and moving in a more human way, similar to romantic music..
Bach was so ahead of his time
Bach is my guy
I wouldn’t say he was ahead of his time, he just defined the next periods of music. In other words, he was his time
@@agamaz5650 Bach was a romantic more than a Baroqye composer. That's how I see him. He would have loved Brahms etc
Still is tbh
Can't believe how Bach did it. Really just can't believe it.
Literally my favourite prelude and fugue
stretto.. inversion.. augmentation.. perfect
Thank you!
I've begun listening to this piece today and I haven't stopped since! It's so beautiful! The prelude! I wanna learn it!
Simply, another Masterpiece from Paul Barton !
Wow! Thank you for such a wonderful performance of one of my all time favorite Bach compositions Paul Barton!
I'm really touched by your beautiful interpretation, thank you so much sir.
Wonderful! I have to say this is one of my favourite recordings of yours.
You can see the influence this piece had on Jonny Greenwood’s score for phantom thread.
Bravo. Me encanta su interpretación de Bach. Impresionante y asombrosa. Me transportó a otro tiempo.
Absolutely beautifully articulated, Paul Barton. Your touch on the keyboard is exquisite. Thank you for sharing. :)
00:00 Praeludium no 8
04:12 Fuga no 8
Fugue buttons are always appreciated!
This prelude is magical
Спасибо очень давно искал разбор этого произведения, прилюдию знал, а фугу сложно по нотам выучить, спасибо большое
beautifully played.
1:43 That low E is impactful
Fb but sure
@@kaicodingrobot1571ya mutha
Thank you so much for this, your Bach really is the best, whenever I feel like listening to Bach you're my go to pianist :)
Thanks for introducing me to all the different prelude&fugues :) I hope to play some in the future (if not all)
Amazing video, Paul!! Thanks a million!
You're welcome!
This is wonderful!
This is one of my favourite pieces of all time. And I don't know why.
You are genius Paul.
Pure gold.
another deceptively difficult prelude - it's tempting to use damper pedal to 'help' the cantabile.
well done!
Yes, deceptively difficult is exactly right.
I‘d say this is among the easiest preludes, it’s only notoriously hard to read. It’s also the best prelude for ornamentation lovers. One of the greatest Baroque pieces ever
The Prelude reminds me of the first part of the prelude from the Cello Suite in C minor.
Wow, this is really beautiful Paul!! I love that this piece allows for more freedom of expression and that harmonic pedal creates such a beautiful resonance! This way the music doesn't sound so "dry" if you know what I mean :-) Your own interpretation turns the mordents into trills :-) Your playing is so tender and you play with great ease. Much more than meets the eye in this score for sure. I really loved both the Prelude and Fugue. In my youth, I was the rebellious one that loved to pedal the Baroque pieces that I loved as I could feel passion in them and tough to resist that urge. My teachers would smile and shake their heads, then of course I would play it the correct way....haha. BRAVO! ~Jackie
Wonderful, Jackie!!
Jackie Perks - Classical Jams Piano lol mood
Not to play the pedal isn’t the correct way per se! The WTC isn’t strictly harpsichord music and no sane person would ever not utilise the pedal when playing organ works on the piano
I’m just learning this piece. The first thing I noticed was how pianists play the mordents. Glen Gould plays the mordents as mordents. Harriett Cohen plays the mordents as trills, Richter plays the first mordent as a mordent and then the rest of the mordents as trills with four semi demi quavers to the quaver, modern you tubers play all the mordents as trills, often without any regard to the correct amount of semi Demi quavers, it’s more of a little “twiddle” on two notes. One you tube piano tutor wrote that the zig zag mark was not a mordent, and that a mordent has a vertical line through but without the vertical line it’s a trill ( which is incorrect in mordern theory) he was describing an inverted mordent and a mordent. Andras Schiff seems to be playing turns at every non turn. The footnotes in my WTC urtext version, do show notes under a mordent sign played as a mathematically correct trill, i.e eight semi demi quavers to the crotchet. A brief google search suggests that in Bachs time mordents weren’t used and the mordent was played as a short trill. I am going to have to do more research on this, I expect there will be different schools of thought about ornamentation in Bachs music. I expect some scholars will say any little improvised twiddle is fine in Bach and is what Bach wanted. I, personally, will possibly be getting my calculator out to work out how many semi demi quavers, semi quavers and dotted quavers I need to play in an ornament, or I might do what Richter did, and forget I’m in Bachs era for the first mordent then remember for the rest.
Sorry, I just realised your comment that I’ve just replied to was seven years old.
I really love this part of w ll tempered clavier. I played this three times a day before.
Wow what a beautiful sound. Fantastic playing!!!!!!
Thank you for this awesome performance demonstration. This is on my listening test in music history THIS THURSDAY! which we will be tested on german composers of the late baroque and opera and vocal music in early classic period! my favorite example from the list is Cleofide: Act II Scene 9 Aria: Digli che io son sedele
Good luck on the listening test!
my favorite so far :) thank you for sharing, Paul! I'll keep practicing until one day I can play these pieces for you. it's only fair I return the favor.
It's been 7 yrs
Did u practised😊
could you please play chopin's ballade no.1 i love the sound of your piano, i end up listening to when you played sections in your tutorial video thank you
Soooo beautiful!!!I just cant play it as well as you does~
This is an incredible performance. You’ve given the piece such an ethereal quality. I don’t know if it’s the harmonic pedal, or what, but it’s amazing. Well done.
this is the only music ive played that really gets me emotional. plenty ive listen that make me break up,but this is one of the few its hard to play because keep stopping to catch my breath or weep.
This is amazingly beautiful and one of Bach's saddest compositions.
3:36 my favorite part
Oh how beautiful...💕💞
wow that fugue is bizarre I don't think I've ever heard anything quite so strange it's like being in some uncanny reverie
Listen to Bach The Wedge Fuge BWV 548, it is unbelievably contorted. Way more than this one.
It scares me. Like something terrible ís afoot
This was originally a pretty unusual fugue in d minor, but he transposed it to d-sharp minor and gave the piece that strange, sad feeling it perhaps needed
I think this is a gentle ethereal interpretation. I find Richters interpretation more sinister as well as ethereal, there seems to be a bitter chill running through Richters interpretation which you notice from the first note, but it doesn’t lose any of the beauty, gentleness or ethereal quality. If anyone has worked out what Richter is doing to add that cold chill, please tell me.
Bravo 👏👏👏👏🎹🎹🎹🎹🙏🙏🙏
At 4:53 the trill in the audio is in the alto, but in the video is in the soprano? 🤔
do a Scriabin prelude op.11 video please!!!!
what are the "x" looking notations next to the notes on fugue 8?
Bryan k double sharp?
Double sharp, raise the note two half steps.
I got a book from Schirmer's Library of Musical Classics for Bach Well-Tempered Clavier that has different notes and stuff for this song. Sound I trust it and learn off the book or download the music from IMSLP?
Does anyone know why most scores would have the fugue written in Eb minor instead? I think everything on IMSLP are in Eb minor. And does it make a difference?
The fugue was already composed in D minor when Bach wrote the WTC. Thus he had to choose to transcribe the fugue in Eb minor or d#minor and he chose D# minor because it's easier to transcribe it from D minor.
Nowadays in most books the fugue is in Eb minor but, for example, in the Urtext edition it's in D# minor (as in the original).
Ohhk
Tbh, D-Sharp minor is easier to read than E-Flat minor, so if anything, the question should be “why would anyone prefer this written in E-Flat Minor“
@@user-fu7zf4ck9zI think it has to do with accidentals. For example, in the harmonic minor scale, the raised 7th in D-sharp minor would be C double sharp, and that Picardy third at the end was F double sharp. If it’s in E-flat minor, those accidentals would be natural instead, which is probably easier to read. But interestingly, if you pay attention to the 2:36 timestamp, there is indeed a B double flat. So if Bach chose D sharp minor instead that note would have been an A instead. Because both keys have six of either sharps or flats, I think it’s just a grey area of choosing which key is best. Ultimately, the composer has final say in what key the piece is in.
My soul….
LIKE!
Thank you!
I have Carl Czerny edition and some of the notes are different, which edition is this?
Very late but the Czerny edition is heavily edited so I doubt it’s credibility. Henle is the way to go for Bach.
If this had to be categorized into one specific species of counterpoint, which would it resemble most?
i was wondering if for the prelude you could pedal
The pedal in Bach's music is an interesting subject. The damper or sustain pedal doesn't just help the fingers join notes together but it also adds layers of colourful sympathetic reverberation as well as mix the resonance between played notes.
I only have one self-imposed rule regarding sustain pedal, and that is never to pedal to trills or ornaments.
Yes you could :D I give you permission !!
@@PaulBartonPiano I actually like to pedal trills and put my feet of it just before the last note is played
Hi Paul, did you ever play Chopin Nocturne Opus 48 no.1 in C minor?
I think you could make a wonderful rendition ! Share it to the world !
This prelude is very sad
Like the world gonna end?!
Hi Paul, the prelude at bar 18 on the soprano is written as F-natural to Eb on the semiquavers. I heard E-natural to Eb, was wondering if yours is by a different edition? Bar 24 in the fugue’s last alto voice is E# but I heard differently. Thank you.
the beginning sort of reminds me of that one rach piece
the "hidden" whisper of lord is so "obvious".
4:53 how do you play that adornment in the rh? At measure no.11??? Like wtf how you do that?!? With fingers 4 and 5???
Cox of some ornaments and fingerings
What is seen definitely doesn't match with what is heard.
4:12
No trill on bar 28?
BWV 853
bei 1:49, das sollte ein f sein und kein fes/e
wild strawberries hit me so hard
To think this piece without harmonic pedal is almost impossible.
Why does he play all the mordants as trills
Because he thinks he has an opinion on bach.
In my publication of Bach’s preludes and fugues, it tells you to do play them as ‘an ordinary long trill’ in the notes
1:40
Fugue at 4:12
E flat minor!
What is a harmonic pedal? Is it different from the sustain pedal?
Did he use the sus pedal in the fugue?
Yes
The prelude is in E flat minor, the fugue in enarmonic d sharp minor, why did Bach decide to do this way? By the way, read and play a fugue in this tonality is not easy.
The fugue already existed in D-Minor, so it was easier to transpose it in D-sharp minor. Why he didn’t do the same to the prelude is beyond me, maybe another version of the prelude existed in E minor, who knows
Ми бемоль минор
Sometimes a note is preceded by a x. What does it mean?
Double sharp.
Basically, move the note up by a half 2 times.
I completely lost the middle voice at around 6:25 which is the subject in inversion. Was there a fault with the piano or the recording equipment? I love those inverted entries and always try to make the most of it when playing this fugue, to build towards the stretto maestrale climax. Do you not think it's a good idea to use different fingering to make more out of the middle voice in that passage?
Yikes this is hard ;/
Когда Христос нес свой крест он не думал как же ему тяжело, у него в душе все бушевало, как и у Баха, когда он писал прелюдию по этой теме. Поэтому Largo - это явная выдумка Муджелини в его попытках адаптировать пьесу под фортепиано. Не повторяйте чужих ошибок.
Ghost Gustav cool!
3:00