Hi, I recently bought the Well Tempered Clavier part 2 so I can play this for my grade 8, however, I didn't realise until after I'd bought it that the syllabus specifies the ABRSM publishing whereas mine is the Shirmer's Library (yellow book).

Does anybody know if they are the same because I bought it several weeks ago and I don't think I have the receipt and I would prefer not to take it bach but obviously this maybe the case.

Also while I'm on here just a small question-is it a good idea to use the pedal in this piece it seems a little harsh without it.

Thanks x

Oooh the Bach pedal question - that'll get things going.

Regarding the edition, you should be fine, I doubt it'll be that much different, but if you can find a copy of the required edition to check just in case there are any minor discrepencies it might be a good idea. I'd do that sooner rather than later.

Now the pedal question - Some people don't pedal Bach at all, some argue that if Bach had a modern piano he most certainly would have pedalled it, then the counter arguement that if he had a piano he would have written very different music. I do use the pedal but very sparingly, just dabs here and there. It really is worth listening to Bach piano music (Schiff is a good option) to get an idea of the sound and the interpretation of the period you might find it sounds less harsh when you have listened to a few, I hate to admit it but when I tackled my first p+f I hadn't really listened to any recordings at all.

If you chose to use the pedal do take care not to over pedal it, as you will be marked on sensitivity to the period and you don't want to make him sound like Brahms.



was this an intended slip?

Haha no it wasn't. I think I may use the pedal in it Ive listened to some players using it and quite liked it. I think I may see if someone I know has the AB version.

Excellent - but whatever you do - don't overpedal it.

This is the one where the examiner running the ab seminars put words to the fugue - I told you you'd have a stomach ache putting such a lot of coffee in your tea.

The only problem now is I'm singing those to myself everytime I hear it.

Aren't words wonderful for getting melodies, and more especially - rhythms, into your head?

A case for a visit to the nearest music library I think!

Look up some books on performance practice for Baroque music, Bach in particular and (if you can find one) the Well Tempered Clavier, even the specific one mentioned: The AB edition has useful short notes before every Prelude & Fugue . . . or at least my old AB edition, edited by Tovey & Samuel, does - the new edition is edited by Jones & Tovey and will be different: I haven't looked so I can't vouch for it.

musicbox, this thread has thrown up some questions for me which I'll start a new topic about rather than hijack this one, but with regard to the specific question in the topic, the ABRSM edition I've got of the Preludes and Fugues (edited by Tovey) gives about a dozen or more pages of advice on interpretation etc of the P&Fs, which may be different from any advice given in the Schirmer. Apparently the new edition on the exam syllabus incorporates Tovey's original text.

Ok thanks, Skylark (and everyone else!)

I was listening to Richter play the f minor P & F from the WTC, book 1 the other day, and it was absolutely thick with pedal. Hewitt on the other hand seems to use none for this piece. Such room for artistic licence!

I'm doing the P & F for Grade 8 too and have listened to 4 recordings which vary so alarmingly it's untrue! My teacher has the Schiff recording so regards that as a model, but I find it way too fast and bouncy. Hewitt and Barenboim both take it alot slower and more elegantly. Then of course, there's Mr Gould who just bulldozes the whole thing with no grace (and little articulation) at all.

I'm finding my own way, the way that I hear it ... just making sure that i'm consistant with the appoggiaturas in the Prelude and that every line can be heard in the Fugue. It's my first Fugue, but it doesn't seem to be a particularly hard one - lots of 2-part episodes and only short 3-part sections. It breaks up into practice sections quite nicely and can be attacked bit by bit.

I do like the ABRSM edition and Angela Hewitt recommends it in her Bach DVD (well worth watching) which is good enough for me!

Dave.

I used to know a music shop which had a sign on the door. 'Gone to lunch, Bach at 2 , Offenbach earlier'


I used to be a Bach non pedaller, but have now come to the opposite view.
Certainly I pedalled the Book 2 Fsharp minor one which I played at the recent Chester do, and I think it would help with the F Minor as well, dont overdo it just use to iron out a few bits where you may feel your touch is making sound a bit detached , and not as legato as it should be.
Good luck with it.

I'm also learning this piece, and I discussed the use of pedal with my teacher on saturday, and I agree with her entirely. She believes that if you're going to play Bach on a piano, then use the resources the piano offers and use the pedals. She said it shouldn't be used like it would be in the romantic period, but if used sparingly to warm the tone of some of the sections, there's nothing wrong with this, and she would use the pedal when playing Bach. She said the danger comes when you start to use the pedal to hide technical mistakes and rely on it to keep the melody smooth. I'm not allowed to touch the pedal at certain points until it is perfect without the pedal first.

Pedal or no pedal?

Ultimately you, the performer, are responsible for the decision.

Not the authorities (pedants!), not your teacher, not the critics, not examiners expectations, not convention, not what some famous interpreter does, not what is thought to be "historically correct" ...

You do your research, you understand the capabilities of your instrument (and yourself), you dig into the meaning and structure of the music, you construct your artistic image - what you wish to create in your performance.

Then you decide.

If you achieve your aim, no-one can say whether you are "right" or "wrong" - only whether they like/dislike it, or agree/disagree with it.


... and thus is revealed a flaw with performance examinations, because they mix up two different things in a single mark - whether you have the ability to realise your intentions in sound (a fairly objective criterion), and whether your intended interpretation is deemed "correct", "tasteful" or otherwise acceptable (which is to a great degree subjective).

and therein lies the problem.