Analysis starts at 17 minutes. Sorry, I got carried away talking about the possible peculiar paradox of being a pianist. Just before making this episode, my harpsichord forced upon me a change of interpretation, so I started thinking about how and why this happens. I spoke about the way classical musicians are ‘bred,’ asking the following questions:

How can we spend our lives playing music from the 18th century without any contact with the instruments used then? Can we know objective aspects of older music while playing on a single model of an instrument developed toward the end of the 19th century? Do pianists exist in a vacuum, where a musical interpretation is guided by a sort of subjective vision— is it even vanity or self-flattery?

Certainly there are pianists who know the Steinway’s predecessors, but on the whole, I feel there is a real ignorance of the instruments on which our repertoire is founded. Perhaps, though, we are in the midst of a revolution of touch and interpretation: I’ve recently seen more pianists playing fortepianos, owning clavichords, et al. This can only lead to a more text-based reading of the music.

But— mind you!— is that a good thing? Do we want to push the art of keyboard playing in a direction away from self expression and toward people claiming the ‘truth’ is on their side? That sounds awful! Even if pianism indeed exists a vacuum, it certainly produces rare visions of the music only accessible through such an art.

Enough musing. While playing the A-flat major Prelude BWV 862 on my double manual harpsichord, the instrument, in a word, told me about the music. There was something about the limited palette of the instrument that forced upon me a new approach. This sort of radical adjustment to one’s playing is typical of playing on historic instruments. On the modern grand piano, possibilities are endless, but on older instruments, the sound tends to constrain the range of possible interpretations.

Spread the Fugue.

The prelude BWV 862 saw some lovely revisions between the earliest conception of the piece and the version we know. For starters, take the lovely line of the concertino solo in BWV 862a:

How different is the revision!

Now bars 22-27 in the earliest version:

Revised to the more evenly shaped:

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Concepts Covered:

J.S. Bach’s Well-Tempered Clavier, Book 1, Das Wohltemperierte Clavier, As Dur, BWV 862, The concerto style of the prelude, between two manuals in the prelude, Fugal analysis, early versions of WTK 1, BWV 862a, and the possible ‘vacuum of pianism’ creating subjective art vs. seeking objective facts about the music. Historic instruments leading to a text-based interpretation, using knowledge of older instruments to inform modern piano playing et cetera.

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