Book Two affords us, through their Preludes’ repeated A and B sections, several opportunities for ornament and elaboration. I oftentimes think it’s enough to alter the dynamic contour and balance between voices, foreground and background, exposition followed by meditation. Bach does occasionally in these cases notate ornaments, and I sometimes take those directions as suggestive for their repetitions. Other times, I seek to provide illuminative, non-intrusive filigree.
The Fugue is of such elemental, archetypal character that it is no surprise it’s probably the most widely taught. It certainly was one of my earliest Bach experiences.
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