Internal evidence for this may be seen in the fact that in Book 1 Bach paired the E ♭ minor prelude (6 flats) with its enharmonic key of D♯. Anhang (Appendix) for Book 1, Nos. 1– .. Variants and annotations to Book 1 .. Das wohltemperierte Klavier I; The Well-Tempered Clavier 1; Le Clavier bien . Page 1. 3. Ped. simile. 6. 9. Prelude in C from The Well Tempered Clavier, Book One. Andante. J. S. Bach. More FREE music at: medical-site.info~deben.
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J.S. Bach, Well-Tempered Clavier, Book One, BWV medical-site.infoe No. 1 in C major, BWV ; medical-site.info No. 1 in C major, BWV ; medical-site.infoe . The Well-Tempered Clavier Complete Books I and II and millions of other books are . Ludwig Van Beethoven Complete Piano Sonatas Volume 1 (Nos. ). Stream J.S. Bach: The Well-tempered Clavier, Book I by Ralph Kirkpatrick and tens of millions of other songs on all your devices with site Music Unlimited.
Editor Carl Czerny — Cxerny's preface, with bio sketch by Philip Hale not included here. Editor Ferruccio Busoni — Busoni cat. BV B 25, part 1. File obtained from www. Text in English.
Edition E. Editor Hans Bischoff Editor Alfred Kreutz Edition Peters , Plate E. Editor Bruno Mugellini — Text in Polish, title page and contents in Russian. It is possible that this edition is a re-engraving of the Breitkopf issue from with the text translated into Polish. Russian text. Different engraving than PWM score above. Looks typical of Muzyka production from the era.
Copyist Hermann Kretzschmar — Bach-Gesellschaft Ausgabe , Band 44 Leipzig: Bach-Gesellschaft Ausgabe , Band XLV 1. Editor Pierre Gouin - Contact. Urtext keyboard score. Maurice Senart , Plates M. Arranger Henri Bertini Arranger Friedrich Hermann — Merton Music , No.
Contains arrangements of preludes from both books. But something, we know, will come after, and in that respect listening to a prelude has an element of listening forwards. Similarly, our listening to a fugue is to some degree a listening back. And there are many instances where Bach appears to have been writing for such directed listening.
For example, an intensely affecting prelude with a wild close I: E minor is answered by a different kind of skirmish, with falling chromatic scales, in its fugue, which in its two-part texture, unparalleled anywhere else in the whole collection and collapsing frighteningly to one part in octaves at crucial junctures, has a wildness of its own.
If a fugue could ever be described as savage, it would be this. Striking as this pairing is, though, there are many others perhaps, indeed, there are 47 that encourage expectant listening in the preludes and recollective listening in the fugues.
Poignancy has its response in chromaticism again, but quite otherwise, in the next minor- mode pair I: F minor , the fugue here touching all twelve notes in its first 16 beats. Then again, some of these fugues suggest not so much an outdoors of paths and rivers but more an interior tranquility, of like-minded companions in a small room joining to sing — to sing, as it might be, a chorale, for many of the fugues are on subjects that have the stout presence of such melodies e.
Some of the preludes have more the nature of solo arias, but others, like the above-mentioned fugues, evoke a close vocal gathering, and all are quite as contrapuntal as the fugues to which they lead. The fugues themselves are normally in three parts or four, except for the already noted two-part example and a further two, also from the first book, in five parts I: C-sharp-minor, I: B-minor. It is no accident, then, when a prelude not only prepares its own fugue but also recalls the last.
The resemblances, however, go beyond immediate neighbors, as do the contrasts. Marpurg and Kirnberger, in the course of a heated debate, appear to agree that Bach required all the major thirds to be sharper than pure—which is in any case virtually a prerequisite for any temperament to be good in all keys. Johann Georg Neidhardt, writing in and , described a range of unequal and near-equal temperaments as well as equal temperament itself , which can be successfully used to perform some of Bach's music, and were later praised by some of Bach's pupils and associates.
Bach's son Carl Philipp Emanuel Bach himself published a rather vague tuning method which was close to but still not equal temperament: Since there have been many other proposals and many performances of the work in different and unequal tunings, some derived from historical sources, some by modern authors.
Whatever their provenances, these schemes all promote the existence of subtly different musical characters in different keys, due to the sizes of their intervals.
However, they disagree as to which key receives which character:. More recently there has been a series of proposals of temperaments derived from the handwritten pattern of loops on Bach's title page. These loops though truncated by a later clipping of the page can be seen at the top of the title page image at the beginning of the article. Nevertheless, some musicologists say it is insufficiently proven that Bach's looped drawing signifies anything reliable about a tuning method.
Bach may have tuned differently per occasion, or per composition, throughout his career. Each Prelude is followed by a Fugue in the same key.
In each book the first Prelude and Fugue is in C major , followed by a Prelude and Fugue in its parallel minor key C minor. Then all keys, each major key followed by its parallel minor key, are followed through, each time moving up a half tone: The first book of the Well-Tempered Clavier was composed in the early s, with Bach's autograph dated Apart from the early versions of several preludes included in W.
Zum Nutzen und Gebrauch der Lehrbegierigen Musicalischen Jugend, als auch derer in diesem studio schon habil seyenden besonderem Zeitvertreib auffgesetzet und verfertiget von Johann Sebastian Bach.
Anno In English: The well-tempered Clavier, or Preludes and Fugues through all the tones and semitones, both as regards the tertiam majorem or Ut Re Mi [i.
For the profit and use of the studious musical young, and also for the special diversion of those who are already skilful in this study, composed and made by Johann Sebastian Bach, for the time being Capellmeister and Director of the Chamber-music of the Prince of Anhalt-Cothen.
In the year Praeludium 2. Praeludium . Praeludium . Praeludium 4. Praeludium 3. Praeludium . Praeludium 6. Praeludium 7. Praeludium . The two major primary sources for this collection of Preludes and Fugues are the "London Original" LO manuscript, dated between and , with scribes including Bach, his wife Anna Magdalena and his oldest son Wilhelm Friedeman, which is the basis for Version A of WTC II ,  and for Version B, that is the version published by the 19th-century Bach-Gesellschaft , a copy primarily written by Johann Christoph Altnickol Bach's son-in-law , with some corrections by Bach, and later also by Altnickol and others.
Prelude as a theme with variations. Fugue in three voices. Musically, the structural regularities of the Well-Tempered Clavier encompass an extraordinarily wide range of styles, more so than most pieces in the literature.
The preludes are also notable for their odd or irregular numbers of measures, in terms of both the phrases and the total number of measures in a given prelude. Each fugue is marked with the number of voices, from two to five. Most are three- and four-voiced fugues, and there are only two five-voiced fugues BWV and , and one two-voiced fugue BWV The fugues employ a full range of contrapuntal devices fugal exposition, thematic inversion, stretto , etc.
Several attempts have been made to analyse the motivic connections between each prelude and fugue,  — most notably Wilhelm Werker  and Johann Nepomuk David  The most direct motivic reference appears in the B major set from Book 1, in which the fugue subject uses the first four notes of the prelude, in the same metric position but at half speed.
Both books of the Well-Tempered Clavier were widely circulated in manuscript, but printed copies were not made until , by three publishers almost simultaneously in Bonn, Leipzig and Zurich. But, with the maturing of the Classical style in the s, the Well-Tempered Clavier began to influence the course of musical history, with Haydn and Mozart studying the work closely.
Mozart transcribed some of the fugues of the Well-Tempered Clavier for string ensemble: Fantasy No. Bach's example inspired numerous composers of the 19th century, for instance in Chopin started composing his 24 Preludes, Op. In the 20th century Dmitri Shostakovich wrote his 24 Preludes and Fugues , an even closer reference to Bach's model.
The best-known piece from either book is the first prelude of Book I. Anna Magdalena Bach copied a short version of this prelude in her Notebook No.