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^ Have you read that or it’s your personal interpretation? I don’t feel anything religious in this particular prelude. To me it’s one of the typically abstract keyboard works by Bach. It’s true that he, as a devoted Christian, created music that he would consider an extension of the divine glory but I highly doubt it he had something in his mind as specific as what you described.

Last edited by CyberGene; 03/30/20 06:36 PM.

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^ It's my personal interpretation. I feel religious context in most of Bach's works. And I think that's the basis of his genius. His music transmits religious, moral messages that otherwise can hardly be worded ex cathedra, but that can be easily perceived through music.

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Bach wrote this piece initially as a sequence of chords. Those would be typically arpeggiated. He eventually decided to write the arpeggiation in full himself. I think many interpretations use too much pedal for too long with a slow tempo and do not take into account the written rests. The piece sounds better at a moderate tempo as the intended introduction to the wtc. Arpeggiating a sequence of chord in a style brise is very usual for Bach. A very similar piece is BWV 924. But when played with the right tempo, with the proper rythmic pulse and not too much pedal, it is a nice piece.

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Originally Posted by pianoloverus
For me, and I think for many, this is an amazing piece that one can hear hundreds of times and not tire of. Can anyone give some reasons why this piece is so appealing? How can a series of arpeggiated chord be so great? Or maybe you think it's not so great and you can tell us why you think that way.


For me, its most remarkable quality is its inoffensiveness. It's composed entirely of sounds that we've become so used to in the West that they're like a journey "home", so to speak. Just remember that you're never going to get anywhere if you keep going home.

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Originally Posted by mcontraveos
Originally Posted by pianoloverus
For me, and I think for many, this is an amazing piece that one can hear hundreds of times and not tire of. Can anyone give some reasons why this piece is so appealing? How can a series of arpeggiated chord be so great? Or maybe you think it's not so great and you can tell us why you think that way.


For me, its most remarkable quality is its inoffensiveness. It's composed entirely of sounds that we've become so used to in the West that they're like a journey "home", so to speak. Just remember that you're never going to get anywhere if you keep going home.


I fully agree with that statement but even that's remarkable since Bach was among the first composers to come up with this type of music. Almost any other composer after him (and possibly the classical era) would have been blamed of creating bland and inoffensive music but Bach had the comfort and of course the genius to create pieces like the prelude, the Air on the G-string and probably some other similar pieces (Jesu Joy...?), also Pachelbel's Canon.

Last edited by CyberGene; 03/31/20 09:05 AM.

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One evening in 1994 I was in a restaurant in Crianlarich, in Scotland, with a friend of mine and there came over the loudspeakers the familiar accompaniment from the Jesu, Joy of Man's desiring chorale prelude that we all obviously know. Then the chorale itself came in and something wasn't right. We looked at each other quizically. What was going on? After a few bars we realised that the chorale wasn't Jesu Joy of Man's desiring at all, but the Crimond (which anyone who's heard or sung Anglican church music will recognise as the tune generally sung to the hymnal version of Psalm 23, "The Lord's my shepherd"). Bizarre.

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Originally Posted by chateauferret
One evening in 1994 I was in a restaurant in Crianlarich, in Scotland, with a friend of mine and there came over the loudspeakers the familiar accompaniment from the Jesu, Joy of Man's desiring chorale prelude that we all obviously know. Then the chorale itself came in and something wasn't right. We looked at each other quizically. What was going on? After a few bars we realised that the chorale wasn't Jesu Joy of Man's desiring at all, but the Crimond (which anyone who's heard or sung Anglican church music will recognise as the tune generally sung to the hymnal version of Psalm 23, "The Lord's my shepherd"). Bizarre.

Someone was being very creative. smile


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Originally Posted by Sidokar
Bach wrote this piece initially as a sequence of chords. Those would be typically arpeggiated. He eventually decided to write the arpeggiation in full himself. I think many interpretations use too much pedal for too long with a slow tempo and do not take into account the written rests.
Actually the instruments Bach was writing for at the time didn't have damper pedals - therefore use of any pedal would theoretically be "too much."


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Originally Posted by chateauferret
One evening in 1994 I was in a restaurant in Crianlarich, in Scotland, with a friend of mine and there came over the loudspeakers the familiar accompaniment from the Jesu, Joy of Man's desiring chorale prelude that we all obviously know. Then the chorale itself came in and something wasn't right. We looked at each other quizically. What was going on? After a few bars we realised that the chorale wasn't Jesu Joy of Man's desiring at all, but the Crimond (which anyone who's heard or sung Anglican church music will recognise as the tune generally sung to the hymnal version of Psalm 23, "The Lord's my shepherd"). Bizarre.



I remember in college having to write variations on Twinkle, Twinkle, Little Star. I found it fits really well using the bass and chords from the Air on the G String. grin

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It's the 335 birthday of Bach today smile So, I recorded a little prelude I used to play as a kid, which BTW reminds me a lot the WTC Prelude 1 in question. Not my best playing but anyway, it's a celebration of Bach, not me laugh


Last edited by CyberGene; 03/31/20 11:29 AM.

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Originally Posted by CyberGene
It's the 335 birthday of Bach today smile So, I recorded a little prelude I used to play as a kid, which BTW reminds me a lot the WTC Prelude 1 in question. Not my best playing but anyway, it's a celebration of Bach, not me laugh


Very nice rendition, Evgeni !! thumb thumb thumb


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Originally Posted by CyberGene
It's the 335 birthday of Bach today smile So, I recorded a little prelude I used to play as a kid, which BTW reminds me a lot the WTC Prelude 1 in question. Not my best playing but anyway, it's a celebration of Bach, not me laugh


Wonderful! Thanks for sharing your music today!


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Originally Posted by chateauferret
One evening in 1994 I was in a restaurant in Crianlarich, in Scotland, with a friend of mine and there came over the loudspeakers the familiar accompaniment from the Jesu, Joy of Man's desiring chorale prelude that we all obviously know. Then the chorale itself came in and something wasn't right. We looked at each other quizically. What was going on? After a few bars we realised that the chorale wasn't Jesu Joy of Man's desiring at all, but the Crimond (which anyone who's heard or sung Anglican church music will recognise as the tune generally sung to the hymnal version of Psalm 23, "The Lord's my shepherd"). Bizarre.


What's bizarre is a restaurant blasting out hymns through loudspeakers. grin

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Originally Posted by CyberGene
It's the 335 birthday of Bach today smile So, I recorded a little prelude I used to play as a kid, which BTW reminds me a lot the WTC Prelude 1 in question. Not my best playing but anyway, it's a celebration of Bach, not me laugh



The genius of Bach, in my opinion, easily surpassed by the genius of the DIY hybrid digital piano controller.

The fabric of legend.

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This was the first "real Bach" I ever played. What I love about it is that you can play it as a beginner, then as as novice, and (of course but I'm not there yet) as an expert, and at each level find so much to learn and show. For me it's a perfect example of Bach teaching (at a remove of 400 years) by allowing you to "do the thing".


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Originally Posted by johnstaf
I remember in college having to write variations on Twinkle, Twinkle, Little Star. I found it fits really well using the bass and chords from the Air on the G String. grin

Uh, all those parallel octaves.


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Originally Posted by Medved1
This was the first "real Bach" I ever played. ...
For reasons I can't remember, the second prelude and fugue was what I started with. I guess I'm always bassackwards. grin

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I always found it interesting that this prelude is so simple (it took me two days to memorize it, if that) and how complicated, i.e., HARD, the fugue is (it took me a very long time before I could perform it). I wonder if Bach was making some sort of joke.

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Originally Posted by the nosy ape
I always found it interesting that this prelude is so simple (it took me two days to memorize it, if that) and how complicated, i.e., HARD, the fugue is (it took me a very long time before I could perform it). I wonder if Bach was making some sort of joke.
Highly unlikely.

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Originally Posted by the nosy ape
I always found it interesting that this prelude is so simple (it took me two days to memorize it, if that) and how complicated, i.e., HARD, the fugue is (it took me a very long time before I could perform it). I wonder if Bach was making some sort of joke.

If that were the case your observation would apply to every fugue that Bach composed for keyboard. grin


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