Bach – Prelude & Fugue in c, WTC Book 1, no.2 (BWV 847) Eunice Norton, piano (1968)

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Bach – Prelude & Fugue in c, WTC Book 1, no.2 (BWV 847) Eunice Norton, piano (1968)

Nội dung video Bach – Prelude & Fugue in c, WTC Book 1, no.2 (BWV 847) Eunice Norton, piano (1968) 

Bach – WTC
Prelude and Fugue #2 in c minor (Bk 1), BWV 847

Eunice Norton, piano
Recorded in 1968

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J.S. Bach – The Inexhaustible Musical Wellspring (3/21)

Bach used the “water” motive to symbolize peace:

[Book I, Prelude and Fugue in F# Major.]

Bach was the “ideal” and served as musical “wellspring” to Mozart, Beethoven, Schumann, Mendelssohn, Wagner, Reger, and many other composers. As I said before, depending on the individual and the time in which he lived, each applied the lessons of Bach to his own work. New facets appear with each age. In the poetic words of Yeats, “Each age unwinds the thread another age has wound.” Each musician took what he found to mean the most to him, but certainly each received a creative transfusion of singular potency. Each recognized a pure expression of truth—a quintessential art.

We may imagine the stimulation for Beethoven in the study of the Well-tempered Clavier. His exposure to Bach is believed to have changed the course of his composing. Wagner regarded Bach as Beethoven’s greatest teacher and attributed Beethoven’s coming of age musically, cutting himself loose from the influence of Haydn, to his study of the Well-tempered Clavier.

What did Beethoven learn from Bach? (I can imagine the passion with which he consumed the music of those pages!) He called the Well-tempered Clavier his “musical bible.”

In it he found: a concentration of essence—music in which every single tone was significant, no single tone could be dispensed with. He found immense ideas contained in short compositions. He found huge compositions, a wealth of music invented from a few bars—even a few tones—miraculous development of short motives. He learned the power of strong lines of color (recognizable in his own application of subito piano and subito forte). He noted daring—straying outside of accepted rules if and when the idea required it. Lang writes, “Barriers dissatisfied Beethoven and he broke them, trespassing boundaries, changing dimensions.”

He recognized in the music the triumph of the spirit of man and also the strength of religious faith. He experienced supreme simplicity. Beethoven knew he was in the presence of musical perfection.

[Book I, c-sharp minor fugue—a piece that contains all and is part of the “ocean.”]

It is impossible to imagine the difference there might have been in a Beethoven who had never met Bach’s music!

Wagner may have found in Bach’s use of pictorial symbol and sound the germ of operatic composition that combines the pictorial with motivic development (cont.)

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