"music variations, toccata-like hand-crossing variations, etc., foreshadowing in many aspects not only Beethoven's ""Diabelli Variations"", but also works by Schubert, Wagner and Debussy. Many of Reicha's string quartets are similarly advanced, and also anticipate numerous later developments. The eight Vienna string quartets (1801–5) are among his most important works. Though largely ignored since Reicha's death, they were highly influential during his lifetime and left their mark on the quartets of Beethoven and Schubert, much as Bach's ""Well-Tempered Clavier"" was ignored by the public but well known to Beethoven and Chopin. Reicha also wrote prolifically for various kinds of ensembles other"
"basis for the ""Ave Maria"" of Charles Gounod. Alexander Siloti proposed a piano arrangement of the early version of Prelude and Fugue in E minor (BWV 855a), transposed into a Prelude in B minor. The first complete recording of the ""Well-Tempered Clavier"" was made on the piano by Edwin Fischer for EMI between 1933 and 1936. The second was made by Wanda Landowska on harpsichord for RCA Victor in 1949 (Book 1) and 1952 (Book 2). The first complete recording of the work on a clavichord was made by Ralph Kirkpatrick in 1959 (Book 1) and 1967 (Book 2) for"
"going back to their meeting in 1932, and had written a great many guitar compositions with Segovia in mind. From the mid-1950s he also dedicated solo guitar pieces to guitarists such as Siegfried Behrend, Christopher Parkening, Oscar Ghiglia, Alirio Díaz, Laurindo Almeida and others. However, this work was both inspired by and dedicated to the husband-wife duo guitar team of Alexandre Lagoya and Ida Presti. Castelnuovo-Tedesco wrote the work between 8 March and 3 June 1962. Both the title and the structure of the work were inspired by Johann Sebastian Bach's ""The Well-Tempered Clavier"", a double set of 48 preludes"
"Les Guitares bien tempérées Les Guitares bien tempérées (""The Well-Tempered Guitars""), Op. 199, for two guitars, is a work written in 1962 by Mario Castelnuovo-Tedesco. It consists of 24 pairs of preludes and fugues, one pair in each of the 24 major and minor keys. The 24 pieces are divided into four books. It has been described as the longest and most important cycle of works ever composed for two guitars. It was both inspired by and a tribute to Johann Sebastian Bach's ""The Well-Tempered Clavier"", a work for solo keyboard. Castelnuovo-Tedesco had a long artistic association with Andrés Segovia"
"keyboard instruments. Although Bach did not use equal temperament, as a modern piano is generally tuned, changes in the temperaments from the meantone system, common at the time, to various temperaments that made modulation between all keys musically acceptable, made possible Bach's ""Well-Tempered Clavier"". Important composers of this era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Henry Purcell, Claudio Monteverdi, Domenico Scarlatti, Georg Philipp Telemann, Arcangelo Corelli, Alessandro Scarlatti, Jean-Philippe Rameau, Jean-Baptiste Lully, and Heinrich Schütz. The Classical era, from about 1750 to 1820, established many of the norms of composition, presentation, and style, and was also when"
"Samuil Feinberg Samuil Yevgenyevich Feinberg (, also Samuel; 26 May 1890, Odessa – 22 October 1962, Moscow) was a Russian and Soviet composer and pianist. Raised in Moscow, he entered the Moscow Conservatory and studied under Alexander Goldenweiser. He also studied composition privately under Nikolai Zhilyayev. He graduated from the Conservatory in 1911, after which he embarked upon a career as a solo pianist whilst composing on the side. Memorably, he was the first pianist to perform the complete ""The Well-Tempered Clavier"" by Bach in concert in the USSR. However, he was soon sent to fight in the First World"
"sets of preludes by Joseph Christoph Kessler, Johann Nepomuk Hummel, and Shostakovich's earlier 24 Preludes, Op. 34.) J.S. Bach's ""The Well-Tempered Clavier"", an earlier set of 48 preludes and fugues, is widely held to be the direct inspiration for Shostakovich's cycle, largely based on the work's composition history (see below). References to and quotations from Bach's cycle appear throughout the work. For example, Shostakovich begins his C major prelude, the first piece in the cycle, with exactly the same notes that Bach uses in his own C major prelude, BWV 846, which likewise begins ""The Well-Tempered Clavier"". Likewise, the composers'"
"for the ""first time"" (according to an announcement in the ""Manchester Guardian"") in February 1912. Prelude and Fugue in E minor, BWV 855 Prelude and Fugue in E minor, BWV 855, is the 10th prelude and fugue for keyboard (harpsichord) in the first book of ""The Well Tempered Clavier"", composed in 1722 by Johann Sebastian Bach. The Prelude in E minor, BWV 855a, features as No. 18 (""Praeludium 5"") in the 1720 Klavierbüchlein für Wilhelm Friedemann Bach. BWV 855a may also refer to both this Prelude and a Fughetta in the same key, an early version of BWV 855. Alexander"
"developed loyalty to Bechstein pianos. Alexander Scriabin owned a concert-size Bechstein at his Moscow home, which is now a national museum, and Scriabin's piano is still played at scheduled recitals. Tatiana Nikolayeva preferred the Bechstein for her acclaimed recordings of the music of Bach. Sviatoslav Richter grew up studying piano on a Bechstein and remembered his experience with that piano as stimulating and rewarding. Claude Debussy said ""Piano music should only be written for the Bechstein"". Edwin Fischer chose a Bechstein piano for his pioneering recording of Bach's ""The Well Tempered Clavier"", as did Artur Schnabel for his cycle of"
"a very early work, showed a gusto for modulation incomparable to any contemporary work this composition has been compared to, but the full expansion came with the ""Well-Tempered Clavier"", using all keys, which Bach seems to have been developing from around 1720, with the ""Klavierbüchlein für Wilhelm Friedemann Bach"" as one of its earliest witnesses. The second page of the ""Klavierbüchlein für Wilhelm Friedemann Bach"" is an ornament notation and performance guide that Bach wrote for his eldest son, who was nine years old at the time. Bach was generally quite specific on ornamentation in his compositions (where in his"
"Prelude and Fugue in E minor, BWV 855 Prelude and Fugue in E minor, BWV 855, is the 10th prelude and fugue for keyboard (harpsichord) in the first book of ""The Well Tempered Clavier"", composed in 1722 by Johann Sebastian Bach. The Prelude in E minor, BWV 855a, features as No. 18 (""Praeludium 5"") in the 1720 Klavierbüchlein für Wilhelm Friedemann Bach. BWV 855a may also refer to both this Prelude and a Fughetta in the same key, an early version of BWV 855. Alexander Siloti made a piano arrangement in B minor of the Prelude BWV 855a. Where the"
"keys, but would then have more dissonance in other keys. The development of well temperament allowed fixed-pitch instruments to play reasonably well in all of the keys. The famous ""Well-Tempered Clavier"" by Johann Sebastian Bach took advantage of this breakthrough, with preludes and fugues written for all 24 major and minor keys. However, while unpleasant intervals (such as the wolf interval) were avoided, the sizes of intervals were still not consistent between keys, and so each key still had its own distinctive character. During the 1700s this variation led to an increase in the use of equal temperament, in which"
"by the German Cantor, Book II of the Well-Tempered Clavier (on Aparté)—recorded at the Château of Versailles on a harpsichord by Joannes Ruckers (1628)—has won numerous awards, including a ""Choc"" from Classica magazine and ""CD of the Week"" from BBC Radio 3. In addition, instruments from the collection of the Museum of Music in Paris, have been entrusted to him for the recording of three records devoted to Royer, Rameau and Froberger. Teaching is also of major importance for Christophe Rousset, who conducts and organises master classes and academies for young people (Accademia Musicale Chigiana in Siena, CNSMD Paris, Académie"
"bars of the second prelude of the first book of ""The Well-Tempered Clavier"" by Johann Sebastian Bach. The entire work, except the coda, consists wholly of semiquaver (sixteenth note) arpeggios, spanning large lengths of the keyboard in the space of one bar. The initial theme is expounded upon and changes to many different keys. The climax resolves to C major. Étude Op. 25, No. 12 (Chopin) Étude Op. 25, No. 12 in C minor is the last of Frédéric Chopin's formal studies for the piano, opus 25, dedicated ""À Madame la Comtesse d'Agoult"". It was first published in 1837 in"
"with the opera ""The Merchant of Venice"", which was first performed in 1961 at the Maggio Musicale Fiorentino under the baton of Gianandrea Gavazzeni. In 1962 he wrote ""Les Guitares bien tempérées"" for two guitars, a set of 24 preludes and fugues in all 24 major and minor keys, for the duo-guitarists Alexandre Lagoya and Ida Presti. This was inspired by ""The Well-Tempered Clavier"" by Johann Sebastian Bach, a composer Castelnuovo-Tedesco revered. In the United States, Castelnuovo-Tedesco also composed new operas and works based on American poetry, Jewish liturgy, and the Bible. He died in Beverly Hills, California, in 1968"
"to Johann Sebastian Bach's preludes in ""The Well-Tempered Clavier"". However, each of Bach's preludes leads to a fugue in the same key, and Bach's pieces are arranged, in each of the work's two volumes, in ascending chromatic order (with major preceding parallel minor), while Chopin's are arranged in a circle of fifths (with major preceding relative minor). Chopin is known to have studied Bach's music, although he is not known to have performed it publicly. Harold C. Schonberg, in ""The Great Pianists"", writes: ""It also is hard to escape the notion that Chopin was very familiar with Hummel's now-forgotten Op."
"Prelude and Fugue in C-sharp major, BWV 848 Prelude and Fugue in C sharp Major, BWV 848, is a keyboard composition written by Johann Sebastian Bach. It is the third prelude and fugue in the first book of ""The Well-Tempered Clavier"", a series of 48 preludes and fugues by the composer. The prelude is a lively 2 part texture, using a series of broken chords which swap between the hands. It is in a fast 3/8 time signature and is made up largely of semiquavers. Later on in the piece, the semiquaver line splits between the hands before ending with"
"Prelude and Fugue in C-sharp minor, BWV 849 The Prelude and Fugue in C-sharp minor, BWV 849, is a pair of keyboard compositions by Johann Sebastian Bach. It is the fourth prelude and fugue in the first book of ""The Well-Tempered Clavier"", a series of 48 preludes and fugues by the composer. The solemn and expressive, recitative character of the melody is reminiscent of Bach's passion music. A direct relationship between the prelude and its fugue, while not readily apparent, is hinted in the long-held durations of the bass in the first ten measures. If one omits the bass pitches"
"Prelude and Fugue in C major, BWV 870 Prelude and Fugue in C major, BWV 870, is a keyboard composition written by Johann Sebastian Bach. It is the first prelude and fugue in the second book of ""The Well-Tempered Clavier"", a series of 48 preludes and fugues in every major and minor key. Unlike the Prelude in C major that opens book 1 of the ""Well-Tempered Clavier"", which consists mostly of broken chords, this prelude features a continuously flowing sequence of melodic ideas that Cecil Gray (1938, p. 82) says is ""very much freer and subtler in form and procedure."""
"church was destroyed by Allied bombing during World War II. Recently, it has been suggested that Anna Magdalena Bach composed several musical pieces bearing her husband's name: Professor Martin Jarvis of the School of Music at Charles Darwin University in Darwin, Australia, claims that she composed the famed six cello suites (BWV 1007–1012) and was involved with the composition of the aria from the ""Goldberg Variations"" (BWV 988) and the opening prelude of ""The Well-Tempered Clavier"". These ideas were also made into a TV documentary ""Written by Mrs Bach"". These claims have been dismissed by a virtually unanimous community of"
"instruments, which typically allow a player to play only the pitches assigned to the various keys, and lack any way to alter pitch of a note in performance. Historically, the use of just intonation, Pythagorean tuning and meantone temperament meant that such instruments could sound ""in tune"" in one key, or some keys, but would then have more dissonance in other keys. The development of well temperament allowed fixed-pitch instruments to play reasonably well in all of the keys. The famous ""Well-Tempered Clavier"" by Johann Sebastian Bach takes full advantage of this breakthrough, with pieces written in all 24 major"
"were also admired. In 1925 he gave the first performance of Herbert Howells's Piano Concerto. A few recordings (apparently 'live') by Samuel can be heard on Duo-Art piano-rolls (- at least via their MIDI scans). Recordings made acoustically by Samuel can also be heard via YouTube (see ) The edition of Bach's 48 Preludes and Fugues (""The Well-Tempered Clavier"") in two volumes, published in 1924 for the Associated Board of the Royal Schools of Music, still in print (in revised form) and in use today, was prepared by Professor Donald Tovey, but was fingered throughout by Harold Samuel. Harold Samuel"
"D major was the inspiration for the Symphony in C composed later that year by Georges Bizet, who was then Gounod's 17-year-old student. In the CD era a few recordings of these pieces have emerged: by Michel Plasson conducting the Orchestre national du Capitole de Toulouse, and by Sir Neville Marriner with the Academy of St. Martin in the Fields. Fanny Mendelssohn, sister of Felix Mendelssohn, introduced the keyboard music of Johann Sebastian Bach to Gounod, who came to revere Bach. For him ""The Well-Tempered Clavier"" was ""the law to pianoforte study...the unquestioned textbook of musical composition"". It inspired Gounod"
"death). Fischer published a number of books on teaching, and one on the piano sonatas of Beethoven. He also made a number of recordings, including the first complete traversal of Bach's ""The Well-Tempered Clavier"" for EMI, recorded on the piano between 1933 and 1936. Other classic recordings by Fischer include Bach keyboard concertos, miscellaneous solo Bach works such as the Chromatic Fantasy and Fugue, various concertos and sonatas by Mozart and Beethoven, Schubert's ""Wanderer"" Fantasie (although he was not up to the transcendental technical demands of the finale) and Impromptus, and Beethoven's ""Emperor"" and Brahms' Second Concerto, both conducted by"
"remain in Vienna, continuing his instruction in counterpoint with Johann Albrechtsberger and other teachers. Although his stipend from the Elector expired, a number of Viennese noblemen had already recognised his ability and offered him financial support, among them Prince Joseph Franz Lobkowitz, Prince Karl Lichnowsky, and Baron Gottfried van Swieten. By 1793, he had established a reputation as an improviser in the salons of the nobility, often playing the preludes and fugues of J.S. Bach's ""Well-Tempered Clavier"". His friend Nikolaus Simrock had begun publishing his compositions; the first are believed to be a set of variations (WoO 66). By 1793,"
"Naxos, Arts and MDG. Gianluca Luisi Gianluca Luisi (born 1970 in Osimo) is an Italian pianist known for his interpretations of J. S. Bach. whose complete ""The Well-Tempered Clavier"" he recorded. Luisi studied at the Rossini Conservatory in Pesaro under the guidance of Franco Scala and, later, at the piano Academy in Imola with Giovanni Valentini, Boris Petrushansky and Piero Rattalino. Luisi now teaches at the Recanati Piano Academy of the Marche. Luisi won many national and international Piano competition including: the ""Città dell’Aquila"" and the Mozart prize (Italy) in 1996, the Genzano Competition in Rome (Italy) first prize, the"
"sets of 24 preludes and fugues, or 24 preludes. The following works employ, sometimes loosely, the prelude-and-fugue format. The composers listed below, who lived and composed in the 19th and 20th centuries, employed this format. Prelude and fugue In classical music, the combination of prelude and fugue is one with a long history. Many composers have written works of this kind. The use of this format is generally inspired by Johann Sebastian Bach's two books of preludes and fugues — ""The Well-Tempered Clavier"" — completed in 1722 and 1742 respectively. Bach, however, was not the first to compose such a"
"Bach manuscripts that had come down from C. P. E. Bach, and donated it to the Berlin Sing-Akademie. The Sing-Akademie occasionally performed Bach's works in public concerts, for instance his first keyboard concerto, with Sara Itzig Levy at the piano. The first decades of the 19th century saw an increasing number of first publications of Bach's music: Breitkopf started publishing chorale preludes, Hoffmeister harpsichord music, and the ""Well-Tempered Clavier"" was printed concurrently by Simrock (Germany), Nägeli (Switzerland) and Hoffmeister (Germany and Austria) in 1801. Vocal music was also published: motets in 1802 and 1803, followed by the E major version"
"that has been found over the centuries since to be both musically thrilling and spiritually profound. Bach published or carefully compiled in manuscript many collections of pieces that explored the range of artistic and technical possibilities inherent in almost every genre of his time except opera. For example, ""The Well-Tempered Clavier"" comprises two books, each of which presents a prelude and fugue in every major and minor key, displaying a dizzying variety of structural, contrapuntal and fugal techniques. Four-part harmonies predate Bach, but he lived during a time when modal music in Western tradition was largely supplanted in favour of"
"George VI Memorial Chapel where King George VI and the Queen mother are buried. Walter Parratt Sir Walter Parratt (10 February 184127 March 1924) was an English organist and composer. Born in Huddersfield, son of a parish organist, Parratt began to play the pipe organ from an early age, and held posts as an organist while still a child. He was child prodigy: on one occasion he played Bach's complete ""The Well-Tempered Clavier"" by heart, without notice, at the age of only ten. From 1854 to 1861 he was an organist at St Paul's Church in his native town and,"
"the end of the online public review process, the final engraved score was released for free on MuseScore.com, and printed and bound by GRIN in Germany. Kimiko Ishizaka's recording was released for free on BandCamp. In 2013, a second successful Kickstarter funded the creation of a new edition of Bach's ""Well-Tempered Clavier"". Once again, the score underwent public review on MuseScore.com, and was recorded by Kimiko Ishizaka, with both score and recordings released into the public domain in 2015. After hearing from a blind musician who contributed to the Open WTC Kickstarter, MuseScore set up new stretch funding goals to"
"Walter Parratt Sir Walter Parratt (10 February 184127 March 1924) was an English organist and composer. Born in Huddersfield, son of a parish organist, Parratt began to play the pipe organ from an early age, and held posts as an organist while still a child. He was child prodigy: on one occasion he played Bach's complete ""The Well-Tempered Clavier"" by heart, without notice, at the age of only ten. From 1854 to 1861 he was an organist at St Paul's Church in his native town and, as successor to John Stainer, in 1872 at Magdalen College, Oxford, where he remained"
"Bass using ""The Well-Tempered Clavier"" by Johann Sebastian Bach. Bruckner continued to work with Zenetti until 1855. Zenetti's music library was of considerable interest to Bruckner. Zenetti taught him the music of the First Viennese School as well as that of the emerging Romantic style. Even after he became Professor of harmony and counterpoint at the University of Music in Vienna, Bruckner continued to seek advice from Zenetti. The student-teacher relationship had become a lasting friendship, and every time Bruckner was in Upper Austria ""he came to Enns to visit, to speak cordially with his master during a few hours."""