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| Composer : | Bach, Johann Sebastian (1685 - 1750) | ||||
| Instrumentation : | Cello solo | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 05 May 2015 The Well-Tempered Clavier (German: Das Wohltemperierte Klavier BWV 846–893), is a collection of solo keyboard music composed by Johann Sebastian Bach. He gave the title to a book of preludes and fugues in all 24 major and minor keys, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Bach later compiled a second book of the same kind, dated 1742, with the title Twenty-four Preludes and Fugues. The two works are now considered to make up a single work, The Well-Tempered Clavier, or "the 48", and are referred to as The Well-Tempered Clavier Book I and The Well-Tempered Clavier Book II, respectively. This collection is generally regarded as being among the most influential works in the history of Western classical music. This Prelude (BWV 851) is a toccata-like virtuosic piece with continuous arpeggiated voice which moves in sixteenth-note triplets. The first part of the Prelude is structured into three sections. At the beginning, Bach establishes the D minor key and then moves to the relative major key (F major) a bit later, the composer forms two two-measure sequences in the key of G minor and A minor respectively. He then begins a transitional episode leading back to D minor with short tonicisations to A minor, F major, D minor, B flat major and G minor. As a result, the first part has five measures, middle – four, and last - five measures which is proportionally close to 1/3 each of this first part. The second part probably can be divided into two sections. The first part is an extended D point featuring interchange of diminished seventh chord of Subdominant (G minor) and G minor second inversion triad plus return to the Tonic. Significantly, until here, the harmonic rhythm was very intense, moving mostly in quarter notes or even in eighth notes. The harmonic rhythm of the D pedal point section, in contrast, changes to half measure which creates a sense of constant growing tension. Interestingly, instead of closing the Prelude with the same perpetual motion in two parts, Bach chose to interrupt the flow with an unexpected change of texture which forms a new section. In this part, the composer presents us brilliant chain of arpeggiated diminished triads which are written for the main voice without any support of the bass. In this chain, Bach reaches the highest note of the Prelude which can be considered as a climactic point of the piece. The piece ends with a cadence in quarter-notes and full chord. Although originally written for keyboard, I created this arrangement for Solo Cello. Sheet central : | Le Clavier bien tempéré I (285 sheet music) | | |||
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