Bach, Johann Sebastian : 9 kleine Praeludien Nr.4 F-Dur BWV 927
Work Overview
Genre:prelude
Total Playing Time:0 min 50 sec
Copyright:Public Domain
Commentary (2)
Author : Ooi, Kazurou
Last Updated: November 20, 2023
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Author : Ooi, Kazurou
The key of F major in Bach, as can be understood from works such as the Inventions, Sinfonias, and Italian Concerto, is a key with a strong assertive character, brimming with joy and vitality. In this sense, a tempo of Allegro or faster is desirable for this Prelude as well.
At the beginning, the hands alternate every two measures; for measures 1-2, the goal is the third beat of measure 2, and for measures 3-4, the goal is the third beat of measure 4. The melodic notes ascend stepwise until reaching each respective goal. Consider this a depiction of an irrepressible feeling of joy and excitement.
From measures 5-8, the left hand ascends progressively, and once it reaches C, it then descends from there. Handle this with a crescendo and diminuendo.
Consider the passage from the third beat of measure 8 to the second beat of measure 10 as two ascending sequences, applying a crescendo to reach the third and fourth beats of measure 10. Then, from there, it reaches measure 13 via five descending sequences. A gradual diminuendo would be appropriate.
From the third beat of measure 13, a cadence is approached, with the third beat of measure 14 considered the peak. The final measure 15 should conclude with a slightly slower tempo and a sense of dignity.
Throughout, strive to play with an optimistic and joyful spirit.
Author : Kumamoto, Ryohei
Last Updated: January 16, 2025
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Author : Kumamoto, Ryohei
Structure
The piece can be understood as having a three-part structure:
- I (measures 1-4)
- II (measures 5-8)
- III (measures 8, beat 3 to measure 15)
Analysis of Structure
Similar to the structure found in the Inventions, after the theme is presented in measures 1-4, a sequence begins from measure 5 as a thematic development.
From measure 8, beat 3 to measure 10, beat 2, another sequence (I→IV: II→V, an ascending sequence by a fourth) is observed. This pattern differs from that in measure 5 and can be considered the beginning of a new phrase. From measure 10, beat 3, a dominant pedal point (organ point) begins, which is a technique often used for the conclusion of a piece.
Characteristics of the Theme
The piece features a two-voice texture composed of repetitive motifs of sixteenth notes and eighth notes. By placing a sixteenth rest on the first beat of the first measure, the rhythm becomes more varied and undulating. The original form of the motif is an Alberti bass-like figure of f-c-a-c, but by omitting the initial 'f' and inserting a rest, rhythmic interest is created. This is a technique frequently employed by Bach, seen, for example, at the beginning of Inventions No. 1 and No. 13.
The theme as a whole is not composed of notes with long durations, and it is not a lyrical melody in the conventional sense; rather, a sense of motion is conveyed through the repetition of motifs. This is a technique also observed in the Preludes to Book I, No. 1 and No. 2 of the Well-Tempered Clavier, where repetitive actions are sustained while harmony, intervals, and figural patterns are gradually varied as the music progresses. Within the regular rhythm of the overall flow, subtle expressions such as brightness and shadow are anticipated.
Structural Considerations for Performance
In Baroque music, unlike music from the Classical period onwards, clear cadences are often not found in the middle of a piece, making phrase divisions difficult to discern. For example, measure 8, beat 3, is a tonic chord that resolves the preceding dominant seventh chord, but it is also the starting chord of a new sequence in a new phrase.
In such cases, it is often heard as an interpretation that the preceding phrase ends with the dominant seventh chord (measure 8, beat 2), and the subsequent tonic chord (from measure 8, beat 3) is played as the beginning of the next phrase. While this is not always the case, I believe that in this particular piece, performing it in this manner would more clearly delineate the structure.
Measure 15 presents a cadential formula intertwined with non-harmonic tones, which is interesting from a compositional perspective. However, since unresolved dissonant intervals persist, one should be careful not to play this section slowly with a ritardando, as it would highlight an unpleasant sound. While perceiving the harmonic movement, one should be mindful of the horizontal flow of the descending melodic line g-f-(f)-e.
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