Well-tempered clavier

First volume / edited By I. A. Istomin
Not for sale
The proposed version of Bach's preludes and fugues is not a traditional performer's version that defines strokes, sound extraction methods, fingering, "intuitively" found phrasing, and the nature of the music, but is, conditionally, a theoretical and compositional interpretation of the intonation process, the sounding time-space (rhythmosoundness). The attention of the note reader is directed to the phase of the intonation process, which is determined by the repetition of the melodic-harmonic formula (generating model-turnover-matrix) in an unchanged or varied form. Separated from each other by the sign of caesura (V), the phases of the intonation process make it possible to understand and feel not only the musical unity of the separate piece, but also the organicity of the small cycles of "prelude – Fugue". At the same time, the indication of the melodic-harmonic unity of phases separated from each other because of their kinship (similarity, identity) gives grounds not for "subjective", intuitive phrasing, but for objective (composer's, author's) dissection of the intonation process into musical phrases.