Bach, Johann Sebastian : Praeludium (Fantasie) c-moll BWV 921
Work Overview
Instrumentation：Piano Solo
Genre：prelude
Total Playing Time：3 min 00 sec
Copyright：Public Domain
Commentary (2)
Author : Asayama, Natsuko
Last Updated: May 1, 2008
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Author : Asayama, Natsuko
It is included in the "Andreas Bach Book," specifically, the music manuscript book of Bach's elder brother, Johann Christoph. Although its authenticity as a genuine work by Bach is debatable, the last three measures are undeniably in Bach's hand.
The piece overflows with the passion of the young Bach as a performer. In modern times, a virtuoso is praised with admiration (and sometimes a touch of disdain) for their superhuman technique. According to Forkel, Bach himself referred to this type of acrobat, who "learns from their fingers rather than instructing their fingers what to play," as a "Clavier Hussar." Although titled "Prelude," no similar writing style or form is found in Bach's other preludes.
The entire piece consists of five sections, each with a different time signature and fundamental rhythm. The motives and rhythms themselves are extremely simple and are repeated relentlessly. As a result, it even gives the impression of a catalog of possibilities, showcasing how many variations and harmonic progressions can be achieved with small motives.
However, this piece possesses a strong power to draw the listener into a trance-like state, a power not derived from motivic development or contrapuntal techniques. Modern pianos still offer room for further exploration of timbre, and as an unusual work by Bach, it is certainly worth engaging with.
Author : Ooi, Kazurou
Last Updated: January 8, 2024
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Author : Ooi, Kazurou
Throughout this prelude, there is almost no discernible melodic line; it is predominantly composed of arpeggiated, broken chords. Rather than offering performance tips, it might be more expedient to state what should not be done.
1. Avoid maintaining a uniform dynamic level.
2. Do not perform without a clear sense of direction.
These are the key points. Just as Bach's Prelude No. 1 from Book I of the Well-Tempered Clavier, which also consists of broken chords from beginning to end, contains chords that should be played with greater volume and those with lesser volume, this prelude follows a similar principle.
As a simple example, when looking at measures 1-7 as a whole, where would the volume increase? The highest note is G, and there are two chords where G is the top note. However, upon closer inspection, the chord in beats 1-2 contains a non-harmonic tone D, which resolves down to C in the following chord in beats 3-4; thus, this D is considered a resolution tone. In that case, it becomes clear that the tension is higher in beats 1-2 than in beats 3-4.
Even considering the four chords in measures 1-2, the chord in measure 1, beats 3-4, has higher tension than the chord in measure 1, beats 1-2. Furthermore, the chord in measure 2, beats 1-2, can be regarded as its resolution, and some might even perceive this section as stronger than measure 1. Moreover, while some might consider the chord in measure 2, beats 3-4, as a resolution of the chord in beats 1-2, the top note ascends, so others might perceive even greater tension.
Fundamentally, such subjective interpretations are left to the performer. In any case, the most crucial task is to avoid flat dynamics.