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 more comfortable in the process, patient with the serendipity of my thought process as I seek to illuminate my interpretive decisions and share my techniques and philosophy on examining the score deeply in the each episode, making some pretty grand and general pianistic recommendations when they pop into my head.
Even hitting a good stride in my episode production, there’s still a gap between Preludes & Fugues I’m preparing to record (I do 2 per week) and those I’m exploring and explicating for the educational archive. At the moment I’m still 10 episodes behind my performance recording schedule.
I wanted to share with you this latest Intro as it became quite clear to me, talking about the E Major Fugue, that my interpretive approach to the piece has deepened even in the few weeks since I recorded my performance now streaming here on the site.
Book I was a summer project for me a couple years ago. Book II was something I concentrated on since last November, completing my first traversal of Book II just this past May. Revisiting and preparing for recording the pieces I’ve done, my point of view has changed and evolved, the right fingerings I worked so hard to find seem, after working through both books, in need of re-examination.
It reminded me of the importance in examining and probing pieces that we know ostensibly well anew every time we open the score. There are relations, architectural principles, different points of reference and resonance that reveal themselves only when we are open with new eyes every time we look at a particular work.
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