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 2nds that seek to subsume the character of the main subject with its inherent espressivo. And again, in emulation, the inversion of the theme is closely followed by a strict inversion of the counter-subject.
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 month of 10 episodes (that’s 2 /1/2 hours of material on the first 5 Preludes & Fugues), with at least 10 more episodes a month thereafter.
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