Christopher O'Riley Immersed as I am, recording and expostulating upon The Well-Tempered Clavier, it’s immensely invigorating engaging learned minds on my own journey. Of particular note, for historical, analytical and philosophical context is David Ledbetter’s indispensable study of The 48. We tend to think of The 48 as a sui generis demo for the latest 2.0 of …
Our friend, Ruth, sent this here to the website: copy of comment to NPR re. FROM THE TOP:For a number of years, we have so looked forward to listening to From the Top, with Christopher O’Riley as the host par excellence. He was well-prepared, interactive, sensitive, and seemed to have a natural ability to …
Just as the Fugues of the Well-Tempered Clavier are exemplars of the most masterful ingenuity of the form, each of the Preludes in the compendium is a textural world all its own. I particularly like the F Major for the slurred four-note melodic quavers; the slur is not just a suggestion of legato but in …
Those of you subscribing to my 96-episode series, Everything We Need To Know About Playing The Piano We Learn From The Well-Tempered Clavier, will receive Episodes 31-40 this morning. I’ve lately taken to heart suggestions to include a bit more analysis in addition to the wealth of specific suggestions for execution on the piano for …
So glad you can see the unattended pedals in the Prelude. This strict two-voice texture demands truest independence of dynamic arc and voice-specific varietal articulative spectrum. The more I play him, the more synesthetic Bach feels to me. I know that some of the more complex-keyed Preludes & Fugues are more than likely to have …