Yys !! Y ou are so right!!:) , Chromatic Fantasia and Fugue (D Minor) ,Organ Toccata and Fugue in D minor, Chaconne for unaccompanied violin in D Minor ..... and more !:)
If paul has been playing piano for most of his life then he has probably played the WTC for most of his life. Relearning a piece is a lot quicker than just learning so it makes sense how quickly he can upload these
@@lavender_rosewatermoon2486 so you think Beethoven beats a man who IMPROVISED a 6 part fugue, wrote MONTHLY cantatas, and completely changed the history of music by introducing the concept of tonality to people like Beethoven? Fuck you.
@@mr.clasher-clashofclansboo7286 Tonality has been developed for many years. If someone says Beethoven is the greatest composer of all time, they're not wrong either. Bach and Beethoven were good for the opposite reasons. Bach may be the one who kept to the form, while Beethoven is known for doing the exact opposite, which literally lead to the romantic era. I agree with Lavender. I personally think Beethoven was greater than Bach.
Bach's name adds up numerically to 14. The top d of the rising notes of the 1st bar of the fugue is the 14th note. The descending chromatic passage then spells Bach's name twice in different combinations. It's fascinating how he structured and embedded so many ideas so artfully whilst creating beautiful music at the same time.
Bravo! I like especially your interpretation of the Fugue. It’s always a bit of a puzzle to have triplets with straight sixteenth notes...but, and I hope I have this correct, the WTC is-paraphrase-the “Piano/Harp/Cem Bible” according to Schumann. Very inspirational.
Wow! This was played so beautifully! I've been studying this prelude and fugue for a while already, but I definitely don't play like him! I hope one day I get there!
I'm an amateur and I'm learning the dminor book 2 but am uncertain how to get it faster. I seem to have solved the tecnicalities but have trouble (it seems) getting it up to your speed. Do you play slowly then rise up to the desired result with aa metronome? And do you stop to fix any uncertainties before continuing....THANKS :)
0:32 - 0:34 (watched at the speed of 0.25): it looks to me that there is an error in the 3rd beat of the measure 15. Instead of A3 G3, A3 C#4 was played. I was watching in the slow motion to see what fingering Paul uses. Of course, this is just nitpicking and I value very much what Paul is doing!
Hi Paul ! Once again, you played beautifully :) Could you make a video like this for Chopin's Etude op 25 no 5, with sheets and this camera angle ? I'm looking for indications about pedalling and fingering for the first and last parts ! Best regards and thank you for your great work :) Hugo
Best morning tea ☕️ watching this “mmmmm” /bow....!!!! You didn’t update us, has youtube quit harassing about copy right since the name “band”? Is it working :-)
I'm able to play that fugue but i cannot master this prelude. i can play it a few times correcty but i cannot do it every time :( what can i do ? i m playing the piano since 2018.
Hello, Mr. Paul Barton, I'm very fan of yours, I'm called Alexandre Sousa. I play Clarinet but I'm also studying Piano, but what I really want is the clarinet, but as I've seen it's very good, I propose the challenge of one day playing some of Stravinsky's work one of the pieces for Piano and then? Do you accept the challenge? I really like hearing you play believe me. I'll be waiting for an answer from you.
Oh-this is so wonderful showing the music and your playing! Great playing. I was curious as my version does not have most of the very important mordents(book1 and 2 /Dover pub).Also was curious about them being 1/2 steps and why the music does not show the flat
Hi Sandy. I don't know how well i can explain this. But my Henle edition also does not show any flats for the mordents. The critical commentary states that all mordents (except in Measure 1) in BWV 875 were added by Anna Magdalena Bach later. Also, no original autograph survives for this piece. So maybe playing the mordents half step (semitone apart) in this piece became a convention over the years :D
@@shreyaskaushal1657 I just googled that crital commentary book-wow!too intense ! So what's with the movable clefs?Also measure 37 (in this prelude)is strange-with a flat added to a B that is already flat
@@sandydileo5961 Ah! Yes, bars 37-38 were added between 1742 and 1744, when Bach decided to revise the prelude (according to the commentary in Henle). If you look at bar 37, the 3rd beat in treble clef and the last semi quaver (sixteenth note) of beat 2 left hand are flattened, because the B on second beat right hand has a natural mark. So the two b flats are there (in bass and treble clefs) to ensure that the earlier natural is ignored! I hope your edition shows the same, Sandy!
Keep on coping, pedal in Bach is usable and even necessary sometimes. He's playing on a piano, not a harpsichord, so he can make use of tools that harpsichordists don't have, because harpsichordists use tools WE don't have. How will you make legato when it's impossible for the fingers to do so?