"Can you try to make chamber music between your hands so that they play together?" Till Fellner
The interest of the master and the student oscillates between highlighting the structural issues
of the Prelude (harmonical structure, connection between sentences) and the Fugue (subject,
countersubject, theme, etc.), and solving the technical challenges.
Therefore, they begin by working on the Prelude. After the master makes a first assessment of
the performance - “I understand that you would like to give it a more dance-like character, right?
It's a little bit too fast, the tempo, for that. Also, it sounds a little bit dry, a little bit too
short”-, they work on harmony (“the problem is that what I want to hear are the harmony and the
bass”, “I would like to hear the tonic and the dominant”), the coordination of both hands (“Can
you try to make chamber music between your hands so that they play together?”, “Even on
harpsichord, it's sometimes nice to have a chord together”), the use of the pedal and character
An issue that is very common in all of Bach's music is the use of sequences. On this, the master
warns: “It is a little bit boring if you play one bar, one bar, one bar, one bar starting in bar twentysix. So let's try to connect these sequences”.
In the Fugue, the master says that time is admirable, and highlights two characteristics of this
fugue in particular: it is cantabile, and – something that is very unusual - the theme changes:
“It's not so often the case that, in the well-temperated piano, that he changes the intervals of the
- Feel that the left hand is two players.
- It’s a cantabile Fugue, so one should give it more resonance
- The importance of connecting the sequences
- Connecting the inner voices is important
- In the fugue, there must be happiness and singing
- The middle voices must be brought out
- In the Prelude, it is very important to hear the harmony.