Johann Christoph Altnikol (1719–1759)Friedrich August Grasnick (1798–1877)Unknown ScribesHolograph manuscript, 1744 (partial) Staatsbibliothek zu Berlin (D-B): . Johann Christoph Altnikol (1719–1759) Sächsische Landesbibliothek, Dresden (D-Dl): . Vienna: Hoffmeister & Comp., n.d.[1801]. Sibley Music Library, Rochester (US-R): .This file is part of the Sibley Mirroring Project. PDF scanned by Unknown Bach-Gesellschaft Ausgabe, Band 14 (pp.89-202, 241-70)Leipzig: Breitkopf und Härtel, 1866. The whole book in one file. Bach-Gesellschaft Ausgabe, Band 14 Leipzig: Breitkopf und Härtel, 1866. New York: G. Schirmer, n.d.(1892). Leipzig: Breitkopf & Härtel, Ed.8276, 1915. BV B 25, part 2. Leipzig: Breitkopf & Härtel, 1916. Franz Kroll (1820–1877)Carl Czerny (1791–1857)Adolf Ruthardt (1849–1934) Leipzig: Edition Peters, n.d.(1937) Text in Polish, title page and contents in Russian. It is possible that this edition is a re-engraving of the Breitkopf issue from 1908 with the text translated into Polish.
This is NOT the original Bischoff-edition: prefaces, footnotes and appendices are missing; the score seems to be newly engraved (system and page breaks are different from the original). Leipzig: Edition Peters, 1971. Plate E.P. 12075.URTEXT EDITION This "urtext" or "scholarly" (scientific) edition was published at least 25 years ago in the EU (or 20 years ago in Italy, before 1992 in the former USSR). Hence, the edition is public domain in its country of origin or a government publication. Such editions are also public domain in Canada because they fail to meet the minimum 'threshold of originality' to qualify for copyright as an 'adaptation'. They may not be public domain elsewhere. More information about this can be found here. Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country. Bach-Gesellschaft Ausgabe, Band 45.1 Leipzig: Breitkopf und Härtel, 1897.
Bach-Gesellschaft Ausgabe, Band 36 Leipzig: Breitkopf und Härtel, 1890. PDF typeset by editor Pierre Gouin - Contact Montréal: Les Éditions Outremontaises, 2012 Bach-Gesellschaft Ausgabe, Band 44 Leipzig: Breitkopf und Härtel, 1895. ZIP typeset by editor These file(s) are part of the Werner Icking Music Collection. These file(s) are part of the Werner Icking Music Collection. The Prelude and Fugue in F minor, BWV 881, is a keyboard composition written by Johann Sebastian Bach. It is the twelfth prelude and fugue in the second book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer. The Swingle Singers recorded the prelude which was in turn used in the song "They" from Jem. The prelude is 70 bars long, and is written in theme and variations form. The theme is 28 bars long and written in binary form. It is followed by several variations in different keys, and ends with a variation in the home key. Below is the opening sentence of the prelude:
The opening sentence of the prelude. The first four measures of this sentence has two voices leading the melody in thirds, and another voice leading the bass line. After four measures, only two voices continue. One voice plays the root of a chord, while the second voice plays a broken chord around it. This continues like so for another four measures, and ends with an imperfect cadence. After this, the sentence is repeated, except modulating to E♭ major at one point and ending on a perfect cadence. Together, these two sentences create a compound period, and the first part of a small binary. Following the compound period, the second part of the small binary starts. It consists of one voice playing broken chords and two other voices leading a melody, and is eight measures long. A perfect cadence in A♭ major concludes the small binary, and thus ending the theme of the prelude. The prelude ends with a two-measure codetta, which consists of a perfect cadence in the home key.
The fugue is 85 bars long, and is written for 3 voices. Below is the 4-measure subject of the fugue: The first four bars of the fugue. Just like most fugues in the baroque period, the subject is then repeated in the middle voice in the dominant key (C minor), and then repeated once more in the lowest voice, again in the home key. This final repetition of the subject is followed a small episode that consists of a descending fifths sequence. This is followed by the development of the fugue, which has many additional repetitions of the subject in various voices and keys, and occasionally episodes with the same descending fifths sequence as before in between. After the final repetition of the subject in the tonic key, the descending fifths episode is repeated as a codetta, which concludes the fugue. The fugues of Book 1 (left column) have been migrated to Flash, and Book 2 is now in process. Fugues of the Well-Tempered Clavier Forty-Four Fugues and Select Preludes
by Tim Smith and David Korevaar 2005 Macromedia Higher Education Innovation Gallery On behalf of David Korevaar and myself (Tim Smith), welcome to this study of Bach's Well-Tempered Clavier. This project was begun over my sabbatical year of 2002-'03 and is ongoing. Dr. Korevaar's sensitive and dazzling interpretations have been its inspiration. Upon hearing his fugues, you'll want to enjoy his many more excellent recordings spanning a wide range of genres and composers. In addition to browsing the links to the left, you will enjoy reading Dr. Korevaar's comments on the performance of the WTC in Character and Counterpoint and my thoughts on teaching with Metaphor, Mystery, and the Music of Bach. Educators planning to use this material may wish to consult the Index of Contrapuntal Operations and Learning Objects. Many of the fugues are paired with quizzes where students may email feedback to instructors. Selected resources for study of the Well-Tempered Clavier and J. S. Bach