Incidentally, we do not know for certain whether the prelude and fugue were actually created together, even though the similarities are almost too marked to ignore.Įverything here is in threes, and astute readers saw the Prelude and fugue as a deliberate representation of the three figures of the Trinity. On paper, that is – as Bach and musicians well into the nineteenth century would have found it unusual or even unthinkable that his Clavier-Übung, including prelude and fugue, would ever be played consecutively in a concert. Rather then putting his tremendous Prelude and fugue in E-flat major in the middle, as planned, what if he were to separate them to form the opening of the volume and a surprising finish? In a volume that was essentially devoted to the Trinity, there could have been no clearer statement than this piece, with all its references to the number three. While Bach was putting together his definitive Clavier-Übung III, he may have had a brilliant idea.
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