Johann Sebastian Bach was in his late forties when he completed the first part of 'Das wohltemperierte Klavier'. And by the completion of the second book, he was already past his fiftieth year of life. A comparison between the two books therefore reveals a number of interesting differences. The first book, for example, contains daring examples of youthful temperament, in which Bach often finds
… himself on the border of what is still playable. The second book is somewhat more abstract, as if a more experienced Bach wanted to use the material in the most economical way possible. For example, pay attention to the preludes: many of the preludes from the first book are real introductions, in which the rustling sound of the harpsichord is used from direct key contact (as in the first prelude). The preludes of the second book are elaborated much more independently. Among these more mature preludes we find contributions that we can consider as precursors of the later classical sonata form (such as, for example, the prelude in D). It is also striking that in the first book Bach dared to record two five-part fugues. In the second book we no longer encounter this kind of finger-breaking tricks. 'A delight to both ear and mind. I have nothing but enthusiasm for Angela Hewitt's musically and imaginative performances', says the Gramophone about Angela Hewitt's approach to this music. (HJ) In the second book we no longer encounter this kind of finger-breaking tricks. 'A delight to both ear and mind. I have nothing but enthusiasm for Angela Hewitt's musically and imaginative performances', says the Gramophone about Angela Hewitt's approach to this music. (HJ) In the second book we no longer encounter this kind of finger-breaking tricks. 'A delight to both ear and mind. I have nothing but enthusiasm for Angela Hewitt's musically and imaginative performances', says the Gramophone about Angela Hewitt's approach to this music. (HJ)more
