Johann Sebastian Bach ~ The Well-Tempered Clavier, Book One: Prelude & Fugue II in c minor

Over the coming months, I will be sharing my videos home-recorded on the venerable Steinway CD207 of the complete Well-Tempered Clavier.

I have long maintained that there is more to learn about playing the piano from the study of Bach’s music; knowledge, insight, inspiration and imaginative freedom that can be applied to all piano music.

Alongside each installment of the 48, I will be offering The Making Of segments, one for each of the Preludes and Fugues, essentially an inside view to my interpretive thinking, my linguistic interaction with the score, with ever an ear to share broad pianistic insights borne of microcosmic meditation on each of these 96 moments of essential perfection.

Initially, these The Making Of mini-lectures will be made available to those who choose to join me by signing up with the Subscribe button here on the sidebar.

These segments will eventually comprise, along with other more specifically technical musings, an archive that will be made available to those participating in my new online teaching activity. I will be making frequent updates to my subscribers list, but all interested parties are encouraged to sign on as well at

http:www.christopheroriley.com/lessons/

Enjoy.

 

 

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2 thoughts on “Johann Sebastian Bach ~ The Well-Tempered Clavier, Book One: Prelude & Fugue II in c minor”

  1. Dear Mr. O’Riley:
    Did you intentionally pick that particular portrait of the Master? You two could be related! It’s a bit uncanny.
    I would enjoy watching every one of your lessons/ lectures.
    Thank you for your work and presence here and on the radio. 🌹

    • Thank you, Valerie~
      I like to think we begin to resemble those we immerse ourselves in. During last summer’s New York run of Basil Twist’s Symphonie Fantastique, I imagined I was coming to resemble Hector Berlioz. I’m flattered you find some resemblance between me and Johann Sebastian (I do have some German blood on my mother’s side), but I think the perceived kinship has more to do with our concerted squint in reading the fine print of Bach’s notation. lol

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