Fugue in D-sharp minor, BWV 853 from Well-Tempered Clavier Book 1 

Thank you for posting Richter's recording. I never imagined such a "minimal" interpretation could be so profound. Unfortunately I cannot reproduce the effect on my digital piano. I suspect it can only be achieved in a large hall or cathedral.

​@@RuoshiSun Хочу вас поблагодарить, за просмотр этой записи. Да, вы всё правильно подумали, Запись двух томов «Хорошо темперированного клавира» в исполнении Святослава Рихтера была сделана в Зальцбурге в 1972-1973 годах В Ютубе это есть. Еще раз вам большое спасибо.

@@RuoshiSun P.S. Как то я писал в коментах, что бархат Steinway и хорошая акустика украсят ваш канал до небес.

Thank you for catching that! I checked my Henle edition that the B# occurs in the alto voice only (phew). For the video, I downloaded the Lilypond score (public domain) from The Mutopia Project and I didn't double check all the notes. Sometimes I play the wrong note for many many years, like I just found one in the Prelude in D major only a few months ago! Fortunately I didn't record it earlier. But if you notice anything please don't hesitate to comment!

@@RuoshiSun I know! I had the same problem with a trill on the Fugue 542, and when someone pointed out the error I found out that half of the executions did it one way, and the other half the other way. Phew :) In this case, B or B# both work, I suppose my ear was accustomed to B#, and yours to B. I am extremely meticulous when it comes to the precision of my scores, as I know you are, but there's always the danger of having the wrong sounds "fixated" in memory, especially when (like in this case) both work. I will point out things if I hear them, sure, as I hope you will for me. :) it hurts to be wrong, but it's wrong to be wrong on Bach :) BTW, I checked my edition, Breitkopf und Härtel, and in there it's B# (actually it is a C natural, because B&H has this fugue in Ebm rather than D#m). Phew, at least I didn't suggest something wrong.

まゆみさん、ご支援ありがとうございます！

@@stevechandler8098 Thanks for your compliment and feedback! I don't know exactly why I dropped the ornament in b.73. I think when I first learned this piece 20 years ago it was already difficult enough without the ornament. A subconscious reason that I didn't pick it up later (now that you prompted me to think about it) is perhaps it might sound a bit out of place or intrusive on the piano, being the only ornament in the piece. However, I mentally picture myself playing this piece on an organ with muted stops where this ornament could blend in effortlessly. I will certainly try it out in the future. Good suggestion for b.23. A similar observation applies to the Fugue in F-sharp minor from Book 2. In some editions a trill is added to all the dotted eights of the second subject. In most recordings I've heard none of them are executed. In my own recording (just uploaded yesterday) I actually added a few and an unmarked long trill near the end. So I am aware of ornamentation and I sometimes add more than what is written (but other times I may choose to omit the written ornaments), especially when it comes to repeated sections as in my videos on the French Suites. It's just for this particular fugue that I never thought about it. Thanks again!