Bach Prelude and Fugue No.12 Well Tempered Clavier, Book 2 with Harmonic Pedal
The Well-Tempered Clavier I No. 12 in F minor
The prelude is cautious and the fugue energetic. This piece, however, is the other way round. The melancholy atmosphere is already firmly established in the very first notes, and it remains throughout. It really seems as if the prelude is going nowhere. All attempts at brightening up are nipped in the bud. The fugue, too, tries bravely to struggle free of this oppressive atmosphere, but to no avail. Even though nearly all twelve tones of the scale are called on, sometimes to the point of desperation, none of the diversions are enough to really let the sun break through.
Tonic Chord May 5, Tonic Pedal Bars 1,2. Ending with a Perfect Cadence in the Dominant. Dominant Pedal Bar Ending in the Tonic, with Major 3rd. The principle melody is seen in crotchets quarter notes , and at the opening is supposed by notes of similar length in the Tenor. The ornamentation in semiquavers sixteenth notes is made up chiefly of Arpeggios, Passing and Auxiliary notes being also employed.
Prelude and Fugue in F minor, BWV (Bach, Johann Sebastian) Composition Year, ca. in Das wohltemperierte Klavier II (No). Genre Categories.
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Behind the music
The young prince only twenty-three years old in was a viola da gamba player of great skill and had an eighteen-piece orchestra of excellent caliber. Only a few cantatas were composed to celebrate royal birthdays and special occasions. He was now expected to produce secular instrumental music, and he did so, as was his custom, with great energy and all his heart and soul. Bach and the prince became close friends, and he often accompanied the prince on his journeys. Upon returning from a trip to Karlsbad in , Bach was confounded by the news that his wife, Maria Barbara, had died and was already buried. Their marriage was celebrated on December 3, , with four barrels and thirtytwo carafes of wine — almost a hundred liters!
The idea of writing linear parts began a long time before the Baroque period. Renaissance polyphony saw the art of writing in counterpoint reach its peak in the vocal music of composers such as Palestrina, Monteverdi and Byrd. With the rise in instrumental music during the Baroque period, and certainly in the hands of such a supreme musical intellect as J. Bach, the fugue found new heights of perfection. The capacity to play in any key, and not just in the keys that were suited to the previous tuning temperaments of the day, is demonstrated here in the volumes of 48 Preludes and Fugues.
Robert has only the first edition of C. Bach's Versuch; he offers keyboard scores of Bach cantatas. Schenker makes a first approach to Rudorff; it concerns interpretation of a passage in Chopin's Ballade No. Schenker reports progress on his Kontrapunkt. Bruckner's stumbling block was form.