Andrei Gavrilov: Bach - Prelude & Fugue No. 8 in E-flat minor BWV 853 | WTC Book I

From the New Art Gallery, Walsall, 2000 The Well-Tempered Clavier Book I Andrei Gavrilov - piano Johann Sebastian Bach - Prelude & Fugue No. 8 in E-flat minor & D sharp minor BWV 85 Watch other Bach´s Preludes and Fugues of The Well-Tempered Clavier: Subscribe to EuroArts: The title of Bach’s Well-Tempered Clavier refers to the new system of tuning keyboard instruments that had been developed by, amongst others, the Halberstadt organist Andreas Werckmeister (1645-1706), to make it possible to play in all 24 major and minor keys, something which hitherto had been impossible with “mean-tone“ tuning. There were, however, several such “well-tempered“ tuning in use at that time, and, contrary to earlier assumptions, there is simply no evidence that Bach wrote his two books of preludes and fugues for our modern “equal temperament“, which is but one of several possible tunings. Whatever the case, for him the tempered tuning meant that he could use all major and minor keys to present a systematic, state-of-the-art compendium of the fugue form, which was then at the very peak of its development. Intended “both for the use and consumption of the eager-to-learn musical youth and as a special pastime for those already skilled in this discipline“, Bach compiled the first part of his Well-Tempered Clavier in 1722; this was near the end of the period he spent in the service of Prince Leopold of Anhalt-Cöthen - an essentially happy time for Bach, but marred by the sudden death of his first wife in 1720. When the second part of The Well-Tempered Clavier was completed in 1744, comprising another 24 fugues together with introductory preludes, Bach had already been Thomaskantor in Leipzig for more than 20 years and the fugue was no longer in vogue. This documental review almost seems to have been an attempt on the great composer’s part to halt the march of time. Born in Moscow, Andrei Gavrilov was just eighteen when he won the legendary Tchaikovsky Competition in 1974 and embarked on a meteoric career. By 1980, when the Soviet regime for a time imposed severe restrictions on his movements abroad, he had already appeared in almost every important musical center in the world. After returning to the concert platforms of the Western world in August 1984, he soon established himself as one of the foremost pianists of his generation. His recordings and his musical activities, in general, have brought him many awards.