Video

Thank you for posting Richter's recording. I never imagined such a "minimal" interpretation could be so profound. Unfortunately I cannot reproduce the effect on my digital piano. I suspect it can only be achieved in a large hall or cathedral.

​@@RuoshiSun Хочу вас поблагодарить, за просмотр этой записи. Да, вы всё правильно подумали, Запись двух томов «Хорошо темперированного клавира» в исполнении Святослава Рихтера была сделана в Зальцбурге в 1972-1973 годах В Ютубе это есть. Еще раз вам большое спасибо.

@@RuoshiSun P.S. Как то я писал в коментах, что бархат Steinway и хорошая акустика украсят ваш канал до небес.

まゆみさん、ご支援ありがとうございます！

Thank you for catching that! I checked my Henle edition that the B# occurs in the alto voice only (phew). For the video, I downloaded the Lilypond score (public domain) from The Mutopia Project and I didn't double check all the notes. Sometimes I play the wrong note for many many years, like I just found one in the Prelude in D major only a few months ago! Fortunately I didn't record it earlier. But if you notice anything please don't hesitate to comment!

@@RuoshiSun I know! I had the same problem with a trill on the Fugue 542, and when someone pointed out the error I found out that half of the executions did it one way, and the other half the other way. Phew :) In this case, B or B# both work, I suppose my ear was accustomed to B#, and yours to B. I am extremely meticulous when it comes to the precision of my scores, as I know you are, but there's always the danger of having the wrong sounds "fixated" in memory, especially when (like in this case) both work. I will point out things if I hear them, sure, as I hope you will for me. :) it hurts to be wrong, but it's wrong to be wrong on Bach :) BTW, I checked my edition, Breitkopf und Härtel, and in there it's B# (actually it is a C natural, because B&H has this fugue in Ebm rather than D#m). Phew, at least I didn't suggest something wrong.

Thank you for showing me my name in Russian! ("Сан" sounds like an approximation to my last name in English, but it is actually closer to "Сун.")

@@RuoshiSun Благодарю вас за объяснение. Всегда интересно узнать то, чего раньше не знал. Пусть это буде так, как будто я хотел употребить Суффикс -сан (さん)

I'm sure you can do it! This piece took me over twenty years.

Thank you Mayumi さん for your support as always!

Thank you! Toward the bottom of my channel page there's a section on orchestration. The C minor fugue orchestration was influenced by Webern, but in a less granular way. I'm sure you'll know what I mean. :)

His tempo is actually about 1.25x. But I can totally imagine him playing at 1.5x. :)

@@RuoshiSun yeah I think I actually had it on 1.5 after checking again

1.25 is actually not bad.

I may try out Kirnberger for some early classical pieces. Unfortunately the model doesn't include Vallotti/Young.

@@RuoshiSun I'm a fan of Kirnberger III-I use it for all my performances on harpsichord if I can.

I don't have the Bärenreiter, but I suppose for the most part it's a four-part fugue and so any transcriber would arrive at the same solution. Things become tricky when the counterpoint expands to six parts. My first edition is a simplification, and the improvements are explained here. I would be surprised if the Bärenreiter edition has the exact same solution for those bars.

Yamaha CLP 785