When you are this far out on the circle of fifths it is moot whether you use six flats or six sharps so Bach gives us one of each. D# minor is the enharmonic equivalent of E flat minor, that is, they are the same, but spelled differently. Like fish or phish.
The prelude is a lovely piece that is both a sarabande and an aria, first for soprano and later for bass. There is not too much more to say about it unless we analyze the harmonies in detail. I'm not going to do that, except to say that Bach, as always, shows his great command of harmony, here to create some piercing dissonances that resolve beautifully.
The fugue is a whole other kettle of fish, however! Here Bach really shows all the possibilities of the subject:
The fugue is in three voices and we hear this subject first in the alto, then the soprano, and finally the bass. Then there is an episode with some lovely chromatic passages. Next we hear the subject in stretto with the soprano following the alto one half-note later. After another short episode we hear the subject inverted:
One thing that has surprised me is how much I like the preludes. I had sort of expected them to be interesting but noodling, anticipatory... But when you concentrate on them you hear and see such beauty. This one was particularly unexpected.
ReplyDeleteI like the performance of the fugue. If I were just reading it through I’d see various moments of great drama, but the slow, understated interpretation I like a lot.
Yes, the preludes are full of unexpected delights. I have become a fan of Sviatoslav Richter. Amazing artist and not afraid to take time at cadences, something almost forbidden under the current rules!
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