J. S. Bach: Präludium und Fuge D-Dur BWV 532

[@CMusik]

Wunderbar! Und das am Geburtstag von JSB und zu Ostersonntag. Danke!

[@valmyguanaes]

Bach! Sempre Bach!

[@IrmhildHanneforth]

Bach ist und war mein Leben,auch mit 86 noch. Danke.

[@dkeithtag]

Sehr wunderbar allezeit.

[@sedumjp]

Bach in a joyous inventive mood :-) A great piece and a great performance.

[@tcparker1000]

An excellent, well-articulated performance. Bernhard Schneider has proven himself to be in the top rank of concert organists.

[@1685kawosz]

40 Molarentage sind vergangen. Die lustigen Tage beginnen. Gesegnete Feiertage der Auferstehung des Herrn. Mit freundlichen Grüßen, Arkadiusz.

[@marcelobrunorodrigues7630]

Eine ganz saubere Aufführung an einem ausgezeichneten Instrument zusammen mit einer perfekten Raumakustik.

[@volker5891]

jesus christ is my first love, j.s.bach my second love!

[@thomante]

Pure perfection once again with the most difficult piece in my opinion.

[@marcelobrunorodrigues7630]

Wunderbach!

[@guidokorbach]

Drei Exzellenzen: der Komponist, die Musik, Der Interpret.

[@jorgezacharias4447]

Magnificent!!!!!!!!

[@kbrinckmeier]

Bravo !!!

[@petertyrrell3391]

What is the evidence that the beginning was intended to be fast?

[@14reger]

No one, in fact.

[@guidokorbach]

what do you want to prove with a proof?

[@petertyrrell3391]

@@guidokorbach Your question doesn't make sense. I simply wanted to question the usual way this piece is played.

[@geiryvindeskeland7208]

petertyrrell. The tempo at the beginning of the prelude is 70 heartbeats per minute, and it is acceptable if we listen to old written sources. (Wim Winters sometimes play 80 heartbeats per minute, same time signature, not pre Gadient periode) A number of organists play it even faster, and that is also acceptable, because BWV 532 is to a considerable extent an etude for two feet in two movements. Much of the technically demanding part of the pedal could have been played with ten fingers instead. Bach made it more difficult than necessary to play, and then we can consider it an etude. The beginning is unique in Bach’s organ compositions - a scale - with the feet!? Why don’t we find more scale for the feet? Because it is impossible to play fast. If Bach wanted slow tempos, we would see a lot of scales also in the pedal. When Bach needed to play fast with his feet, so that the complementary rhythm would not die, he had to compose he bass line as «steps». Then you can play very fast wih your feet as well.(BWV 532, 543 and 564) So do we find the evidence that Peter Tyrrell is looking for? If it is impossible to play scale with your feet in fast tempos, why did Bach wrote a scale for your feet? As I said, this is an exception, a unique example in Bach’s organ compositions. It is no coincidence that the scale is in D Major. I have tried a number of other keys, they are even more difficult to play(max 4 fixed signs) Another important reason why he chose D Major is due to the pedal solo at the very end of the fugue. Bach wanted to perform it without having to interrupt the upward movement, the keys were not enough. That solo is very demanding at a fast pace, it would be much easier to play it with ten fingers. This proves that Bach applauded the virtuosic, he wanted to show what was possible to play with two feet. But you only impress when you play fast. It was certainly fun to be an organist from northen Germany when they were visited by organists from France, Spain, Italy and England. The prganists from those countries could not play the BWV 532 regardless of tempo, their pedals were too primitive. Worst of all in England, they didn’t have pedals at all! Thanks to human nature, where individuals absolutely want to reach further than average, we got the great organ works by Bach. If no one was more curious than others, if everyone was satisfied with the simplicity they had, then Bach’s organ works would not be possible to play, because no one took the lead ans showed the way.

[@petertyrrell3391]

@@geiryvindeskeland7208 I dislike the sectional nature of this piece and the overlong fugue. I prefer the more mature works - the B minor, E minor and C major.