Prelude: In bar 16, the C sharp in the LH was inaudible.
I think, you must have had your volume very low while listening, both c-sharps in the LH are splendidly audible with a normal volume for me!
There's one or two weak notes near the beginning, in the repeat.
Yes, right, on the fourth beat of bar two during the repeat two of the sixteenth are a bit weak, but still well audible.
I find the mordents and trills a bit inconsistent and sometimes uneven.
Not so IMO, they come out quite clear und precisely and they are well audible and not played "frouzily".
Seems like you often play the LH ones on the beat, but the RH ones before the beat. Is that a conscious decision ? Or do my ears decieve me ?
Let´s simply say your ear decieves you.
At least I can´t realize a truely significant difference between the mordents played with RH respective LH, they all are on the beat. But I will have an eye on this while re-recording (because of the on wrong note).
In bar 20, RH third beat, the E sharp should be E.
Right, thank you very much for this advice!
I think, I should re-record the prelude.
This tempo indeed allows for more detail and clarity than my higher tempo. But I wonder if it's not too slow now,
No, for my taste it´s the quite ideal tempo now! If you look for the right tempo for this prelude you first have to look on the passages containing the thirtysecond-notes. The tempo, in which you can play out all these wonderful 32nd-lines, is the right one.
and if you should indeed take the repeats. I tried to create variation in the repeats by playing bars 5-8 and 25-27 differently, you decided, I think, on playing the repeats una corda or at least much softer.
Of course one should take the repeats here. They offer so much creative possibilities of changing interpretation. No, I don´t play una corda here, I never do that in Bach-pieces, because that wouldn´t be adequate to baroque style. I change my touch to piano and soft and I use some attentive pedal cicks here to bring out that wonderful latent two-voicing like in bar 6 and 7 for ex. (there is a latent alto-voice in some passages like this one).
Listening to it I discovered a couple more read errors of mine that you had not spotted
Yes, I also thought while listening to your fugue, that there were more read errors in it than I have pointed out.
My only criticism is that you seem slightly impatient whenever the repeated notes appear, you tend to rush that a little bit, which I think is a pity.
It´s part of my interpretation to go a little bit forward until to the highpoint of every theme-entry, in the sense of an attentive agogic. This is allowed and part of my interpretation. But yes, may be I should play some parts with a bit less agogic and more calmness. Thanks for that suggestion.
I find bar 42 sonehow a bit strange - is there a cut in there ? I now get your point on the voicing... I missed a complete alto voice in the middle.
No, there is no cut wether in the prelude nor in the fugue, both pieces are recorded in one take!
The subject is in the bass-voice in bar 42, so there is no alto to be voiced out here or do I missunderstand you somehow? If you mean the tenor voice in the second half of bar 43, this is only an enty of the head of the subject (no complete subject) and I consider this not as important as the parallel complete subject-entry in the soprano.
All in all, great quality recordings as usual.
Thanks for this, Chris.
Yes, both, the prelude and the fugue are so beautiful. I think, you still have discover the beauty of the lines in the prelude. For me they are like a revelation.
Thank you for your detailed thoughts on my recording, Chris. For me our dialogue, working and comparison on the Bach-pieces is a great motivation!