![]() Just before the end, Bach notches up the tension again by having the five parts play the theme once more in rapid succession.Ĭomposing 48 keyboard pieces in all 24 keys was the sort of challenge Bach enjoyed. Just listen to how he keeps juxtaposing parts in a way that they create undulating strings of notes together. ![]() Despite the big leap and the taut structure – Bach follows all the rules of the early Renaissance style – here too the overtone is one of mildness. It is followed by one of the strictest fugues in the Wohltemperirte Clavier, on a theme that is stretched to the limit. The swaying rhythm creates a meditative atmosphere. In this performance, the tempo of the prelude is therefore slow, enabling Kris Verhelst to give plenty of scope to the sometimes unexpected twists, especially for those listening carefully to how the accompanying chords are constructed. ‘Trouble’ was put in inverted commas above because it is precisely that tense tuning that makes this pair of works. On reaching B-flat minor (with five flats one of the exceptional keys), he appears to have chosen a warm, subdued and enchanting approach – maybe to soften the nasty ‘falsifications’ somewhat. So as not to make too many compromises, a few keys sound almost perfect (the most prevalent), many keys sound very pleasant (the harmonic excursions) and finally a few keys sound really strident. ![]() Precisely why you would do so is a rather technical story, but it can be summed up as follows. ![]() If – like Bach – you want to write in all the keys, you will eventually get into ‘trouble’ in a historical tuning. ![]()
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