Christopher O'Riley Here’s my latest recording from my survey of The Well-Tempered Clavier. In response to listeners’ requests and suggestions about the recorded sound, I’ve shifted the AMT M40 down further away from the action, into the farther end of the frame. The M40 is a stereo, single-capsule condenser mic that mounts on the inside of the …
One of my earliest teachers described an Allemande as a dance between teacher and pupil. I’ve never found any historical basis for this description, but this all but strictly two-voiced Prelude does have that sense of voices emulative if not imitative of each other. I love the counter-subject of the Fugue, with it’s keening descending …
I love the Italianate buffo bounce of this Prelude and the way that Pulcinella comedia del’Arte high-spirited conviviality carries over into the Fugue. My 96-episode archive, Everything We Need To Know About Playing The Piano We Learn From The Well-Tempered Clavier, is now available at a special introductory rate of $20 for the first …
Thanks to the suggestions from friends and supporters for, I’m happy to say that you can now buy a membership to my educational online archive, Everything We Need To Know About Playing The Piano We Learn From The Well-Tempered Clavier, not only for yourself but for friends, family, or colleagues. The monthly membership will continue …
Such a rich panoply of perspective, of foreground/background voices and characters in this f minor Prelude. My favorite moment is The Birth of Robert Schumann @1.07. And I’ve adopted an open-source of decision as to which hand, or between what combinations of left and right hand result in the most successful statement of the opening …
I’ve recorded Book I of The Well-Tempered Clavier through Prelude & Fugue XIV. Meantime, I’ve just now started getting into a really good production schedule, going from one episode of my educational archive, Everything We Need To Know About Playing The Piano We Learn From The Well-Tempered Clavier, per week to one nightly. I’m becoming …