Christopher O'Riley My latest share in my social media traversal of the Well-Tempered Clavier. It was after recording the d# minor Prelude & Fugue that I had my superb piano tech, Oleg Schramm, see to the pianos. They’d not been tuned since the spring, but on a steady diet of Bach, they’d remained almost completely perfect in …
I enjoyed making an articulative panoply of this overture-like Prelude. The Fugue is suffused with as much serenity as the Prelude is with celebration. My 96-episode series, Everything We Need To Know About Playing The Piano We Learn From The Well-Tempered Clavier is now available by subscription at Become A Member
I know, the footage of the Prelude looks over-cranked, Tarantino-style. Swear to God, that’s just how my hands move. The Fugue is a Beethovenian universe, its subject and counter-subject inhabiting and cavorting variously within the orbits of 8th, 16th and triplet 16th figuration. A singular solar system. My 96-episode archive, Everything We …
In my years of playing the piano for Elliott, back in Ohio, and Iman, here in Hollywood, I have come to know as established fact that cats love the key of D Major. Elliott was partial to my version of Pink Floyd’s Us & Them, Radiohead’s Give Up The Ghost; Iman has a favorite Rachmaninoff …
The summer of ’17 was my WTC Book One immersion. November ’18 through May ’19 were my months wholly dedicated to Book Two. The first of my home-recorded, one-take videos of the complete WTC began late this passed June, with a concurrent beginning to my 96-episode series, Everything We Need To Know About Playing The …
One of the most eloquent and elastic of the organum Preludes evolving, erupting into an ecstatic Fughetta. The Fugue subject is one of the most bare, schematic of subjects and yet engenders an untold wealth of contrapuntal invention. “thoughtful and inspiring.” ~ Ludovic Morlot My 96-episode archive, Everything We Need To Know About Playing …