Music of Sweet Temperament
The Well Tempered Clavier 2 or Das wohltemperirte Clavier 2

And there shall be no more curse on the Temperament

And he showed me a pure bach of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb. In the midst of the street of it, and on either side of the bach, was there the music score tree of life, which bore twelve notes of fruits, and yielded her fruit every octave: and the leaves of the music score tree were for the healing of the nations. And there shall be no more curse: but the throne of God and of the Lamb shall be in it. based on Revelations 22 from the New Testament

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written by Fujita Iori and dedicated to Ms Fujisaki Minae

Email :

mocfujita@aol.com

ver: Feb 13th, 2010, ver:April 11th, 2010, ver:May 10th, 2010, ver:May 19th, 2010, ver:June 1st, 2010, 1-page version 20220426

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about "Ariadne Musica"

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J. C. Altonikol

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Herr Georg Philipp Telemann

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INDEX PAGE You can listen to mp3s and enjoy stories of all the Preludes and Fugues of the WTC2. INDEX PAGE
If you want to listen to the whole Preludes and Fugues of the WTC2, here it is!

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The Well-Tempered Clavier Second Part consisting of Preludes and Fugues through all the Tones and Semitones written by Johann Sebastian Bach Royal Polish and Electoral Saxon Court Composer, Capellmeister and Directore Chori Musici in Leipzig. dated in 1744

The complete manuscript is in the hand of Johann Christoph Altnickol
and bears the title above shown.

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---INDEX PAGE-

The Well Tempered Clavier Book 1 - Music of Sacred Temperament ---

MUSIC OF INTELLECT the Goldberg Variations

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Music of Sweet Temperament
My Learning Book for The Well-Tempered Clavier 2
by Anna Magdalena Bach of 2010 in the year 1744
--- This is a fiction. ---

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to Prelude No. 1

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Welcome to My Learning Book for The Well-Tempered Clavier 2 !

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About Mr. Johann Christoph Altnikol

I am Anna Magdalena Bach, the wife of the great Maestro Johann Sebastian Bach. Nice to see you all. And thank you for visiting my site. I am trying to tell the people what I am learning through this WTC2. First of all, I would like to introduce Mr. Johann Christoph Altnikol to you. He is now 24 years old and an eligible composer and organist. He also plays violin and cello well. He has studied theology since last year in our city Leipzig. He is a pupil of Johann Sebastian Bach in composition and keyboard instruments. Johann Sebastian thinks of him as a favorite assistant. So Johann Christoph is always around us. One of my daughters, Elizabeth Juliane Friedericia, who is now 18 years old, and a good girl and bears a striking likeness to me, might become attracted to him. This promising young man, Mr. Johann Christoph Altnikol, has been helping me to compile "The Well-Tempered Clavier 2" from the individual manuscripts of Preludes and Fugues. He made the title page of "The Well-Tempered Clavier 2". He wrote; Des Wohltemperierten Claviers Zweiter Theil bestehend in Praeludien und Fugen durch alle Tone und Semitonien verfertigt von Johann Sebastian Bach Königl, Pohlnisch und Churfürst. Sächs Hoff Compositeur Capellmeister und Directore Chori Musici in Leipzig Im Jahre 1744 The Well-Tempered Clavier Second Part consisting of Preludes and Fugues through all the Tones and Semitones written by Johann Sebastian Bach Royal Polish and Electoral Saxon Court Composer Capellmeister and Directore Chori Musici in Leipzig in 1744 You will notice that this Title Title Page somehow resembles that of the First Book of the Well-Tempered ClavierJohann Sebastian wrote 22 years ago; The Well-Tempered Clavier or Preludes and Fugues through all the tones and semitones including those with a major third or Ut Re Mi as well as those with a minor third or Re Mi Fa. For the profit and use of musical youth desirous of learning and especially for the pastime of those already skilled in this study composed and prepared by Johann Sebastian Bach at present Capellmeister to His Serene Highness the Prince of Anhalt-Cothen, and director of His Chamber Music. Anno 1722 In the Well-Tempered Clavier Second Part, "including those with a major third or Ut Re Mi as well as those with a minor third or Re Mi Fa", "For the profit and use of musical youth desirous of learning" and "especially for the pastime of those already skilled in this study" are omitted. As to "including those with a major third or Ut Re Mi as well as those with a minor third or Re Mi Fa", there is no point in mentioning it at this late stage. Now everyone knows the difference between "major" and "minor". And the Well-Tempered Clavier of 1722 had to have the clear purposes like "to use for the profit of study and the pastime". The Cöthen Court, for which we served and in which we lived, would not usually allow the composer to bring out with him his works which he has made for the Court or the Church as his duty because these works and their music scores belong to the Court. They would say, "Exceptionally copies only for Johann Sebastian himself, scores of the works dedicated to certain players like works for solo violin, those which have nothing to do with the Court nor the Church, and scores of the works only for your domestic affairs can be your belongings." So, my husband indicated those purposes on the title page with some illustrations, just before he left the Court of Anhalt-Cöthen to take up his duties as Kantor of the Thomaskirche in Leipzig. So now, fortunately, we have the original here. And we don't have to include this kind of purpose in the title.

Anna Magdalena Bach an imaginary portrait of mine made by Iori Fujita in 2009 May I introduce myself?

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The Well-Tempered Clavier Second Part

Prelude 14 an example of a folded sheet Fugue 14 is on the other side.

Each Prelude and Fugue of this Well-Tempered Clavier Second Part was originally written out separately on a folded sheet of paper. Basically, Prelude on one side, Fugue on the other side. So we don't have to turn the page while playing. Then Mr. Johann Christoph Altnikol made the complete set of copies and added the Title page. Not only the pupils of Johann Sebastian but also I, Anna Magdalena, made several fair copies to help the compilation. Johann Sebastian seems to think it is unnecessary to have Book 2, another Volume, or a Second Part. Moreover, he had wanted to replace, for example, No.14 F sharp minor of First Part with another new beautiful one. Additionally, Johann Sebastian would continue to make revisions even in copies of his pupils and perhaps never gave us his final thoughts on this subject. He actually said on his webpages; "Surely, now there is another plan for a new set of the Well-Tempered Clavier. In my opinion, it is not necessary to have a Book 2 or a Volume 2. In these 20 years, the Well-Tempered Clavier has worked well and is still working. If some revision is possible, I would like to change, for example, No.14 F sharp Minor to another new beautiful one I have now." But at the same time, he knows I wanted a new complete practice book for our children, especially for Johann Christian, now ten years old. It was just like that Wilhelm Friedemann, Maria Barbara's son, had this Well-Tempered Clavier for his learning of clavier. Then when he heard that Johann Christoph Altnikol put a name to that set, "The Well-Tempered Clavier Book 2", he had the generosity to accept this. On the contrary, he might have no time to compile a New Well-Tempered Clavier. So, he thought his comment would only be an excuse.

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Why "Sweet" not "Sacred"?

Sacred Sacred Sacred Sacred Sacred Sacred

MST is the abbreviation not only for "Music of Sacred Temperament" but also for "Music of Sweet Temperament". In german, "sacred" is "sakral", and "sweet" is "süß". About temperament, the LORD imposed us a serious confusion, which I can't understand exactly, but favorably gave us twelve notes for music. Johann Sebastian traveled these twelve notes one by one for "Soli Deo Gloria" which means "Glory only to God!" and hoped for us to be saved by music with consciousness of sin. He wrote these words, "Soli deo sit gloria", at the bottom of the last page of the Well-Tempered Clavier where is Fugue No.24 h moll. There must be more importance on the fact that music is built on the twelve notes than on a subtle distinction relating to temperament systems. So he needs the Sacred Temperament. In fact, many Preludes and Fugue of the Well-Tempered Clavier of 1722 have some sacred atmosphere compared with those of 1744. Especially Prelude and Fugue No.1, the first one, and Prelude and Fugue No.24, the last one, would be in the realm of "Music of Devotion". But there is no "Soli deo sit gloria" in this "Second Part". As to the style of music, Prelude No.24 is only one prelude in binary form, in other words, "two sections both repeated", among those of the Well-Tempered Clavier of 1722. There are ten examples of this in the Well-Tempered Clavier of 1744. The disposition of the pieces in WTC2 has no relation to an intended sequence of performance, which is different in WTC1, where the order itself has sacred significance. Here, you can say that WTC2 is a mere compilation of 24 Preludes and Fugues. On the other hand, many of the original autograph scores that my great husband, Johann Sebastian, wrote by himself have the title with numbers. For Example, Prelude F sharp minor has the clear title of "Praeludium ˜. 14". I think that Prelude No.1 plays an important role in the opening of WTC2 with its musical motif. So, playing or listening to the pieces one by one in order is interesting and pleasurable. Cantata (BWV 210a) "O angenehme Melodei!" Oh pleasant melody! Ihr Sorgen, flieht, Flieht, ihr betrübten Kümmernisse! Ein singend Lied Macht herbes Grämen süße,... Flee, you cares flee, you troubling worries! A melodious song makes bitter grieving sweet,...

Sweet Sweet Sweet Sweet Sweet Sweet

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My Learning Book for The Well-Tempered Clavier 2 A comment by Herr Johann Christoph Altnikol requested by Anna Magdalena Bach of 2010 in the year 1744 --- This is a fiction. --- back - index - next page Back Music is Cantata "Wake, arise, the voices call us" No.6 Aria Duet : soprano and bass A comment by Herr Johann Christoph Altnikol with a smile Frau Anna Magdalena Bach told me to write a comment for this Learning Book for The Well-Tempered Clavier 2. But what can I write at all? I have been wondering about it for a while. Then I came across an idea to explain the scores because I am working for the Bach family as one of the copyists. The Well-Tempered Clavier 2 My great teacher praised me for my calligraphy. of her younger days Anyway, first of all, let me introduce myself. I was born in 1720 in Berna of Silesia or Seidenberg. Now I am 24 years old. My father is a weaver. And I went to school at the Lauban Lyceum in 1733. Lauban is a town in southwest Poland. I was employed as a singer and assistant organist at St Maria Magdalena, Breslau, between 1740 and 1744. Breslau, or Wrocaw, is the capital of the Lower Silesian. Then I began studying theology at the University of Leipzig in March 1744, after being granted four thalers, wow, it's great money, as a viaticum, or a scholarship, in January of this year. So I am here in Leipzig. Now I am a pupil of Johann Sebastian Bach in composition and keyboard instruments. If possible. I'd like to be a bass singer in Johann Sebastian Bach's choirs and get an additional salary. I heard that Herr Bach's son, Carl Philipp Emanuel, now 30 years old and one of the most famous contemporary musicians, recently married Johanna Maria Dannemann in Berlin. Herr Bach looks so happy. Elisabeth Juliana Friederika Bach, one of his daughters, is 18 years old. She lives at Herr Bach's residence with her family. I will make a song for her as a gift. The year 1741 was celebrated by the publishing of "Clavier Ubung bestehend in einer ARIA mit verschiedenen Veraenderungen ....." which is now commonly known as "the Goldberg Variations". I also have been practicing and enjoying it. This publication led me to be a pupil of Johann Sebastian Bach. And I have come to know about the manuscripts. Of course, almost all the works by J. S. Bach are still in the manuscript. What is the difference between the manuscript and the printed score of the same work? Yes! In the manuscript, there is the soprano clef. In the printed score, you will find the treble clef. When the C-clef occurs on the first line of the staff, it is called the soprano clef. It is usually used in vocal music to write soprano parts. When the G-clef is placed on the second line of the staff, it is called the treble clef. It has become a common clef used today. This clef is used for the violin, flutes, oboe, etc. modified by Iori Fujita It doesn't exist in the 21th century with 32th notes, as it is. It is an unusual manuscript of the Prelude of the Well-Tempered Clavier Book 2. Herr Bach used the grand staff with the treble clef and the bass clef. Other works of the Well-Tempered Clavier Book 2 except Prelude and Fugue No. 1 and No.17 are all with the grand staff with the soprano clef and the bass clef. My great teacher, Herr Johann Sebastian Bach, usually uses the grand staff with the soprano clef and the bass clef for the keyboard works when he writes the manuscript score by himself. But when he is going to publish a work for Clavier, he chooses the grand staff with the treble clef and the bass clef. From 1726, he published Partitas one by one, and in 1731, he collected these 6 Partitas in "Clavier-Übung I". These Partitas are printed using the grand staff with the treble clef and the bass clef. Look at the grand staff above. In this case, C-4 is situated at the vertical center. Then, the image of the vertical symmetry is so strong that the space between the upper and lower staff gets narrower. To tell the truth, it is a little bit difficult to identify upper voices and lower voices in the case of printed scores using the grand staff with the treble clef and the bass clef. It is not the problem of the grand staff with the treble clef and the bass clef but the problem of the narrow space between the upper staff and lower staff. The vertical symmetry forces us to make the space narrow. When the G-clef is used, we may have to be conscious of the symmetry, which is not necessary at all from the beginning. We can use a doppelrastrale, which is a five-line writer as usual for the manuscripts, and put the G-clef on the upper staff. Then, naturally, we can obtain a suitable space between two staves. Print the result as such. There will be no problem. Now, I can't make a good song for Elisabeth Juliana Friederika as a gift like her father. Then I sang a song with her at the music party of the Bach family. When I visited Leipzig two years ago, in November 1742, this cantata was played in the Thomas Church by chance. It is wonderful and also perfect for a man and a woman to sing together. "Wachet auf, ruft uns die Stimme" or "Wake, arise, the voices call us" Cantata for the Twenty-Seventh Sunday after Trinity No.6 Aria Duet : soprano and bass sopran : baß : sopran baß : sopran : baß : sopran baß : Mein Freund ist mein, und ich bin sein, die Liebe soll nichts scheiden. Ich will mit dir Du sollst mit mir im Himmels Rosen weiden, da Freude die Fülle, da Wonne wird sein. soprano : bass : soprano bass : soprano : bass : soprano bass : My friend is mine, and I am yours, Our love never be broken apart. I will be with you You shall be with me grazing heaven's rose garden, where fullness of joy and delight will be. return - index - next page

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The Well-Tempered Clavier 2
INDEX

Clich the name of tune, then you will go to the page you want.
Click or , then you can hear the music on this page.
Click and
For all continuous Preludes and Fugues

Prelude	Fugue	Key	( Key )	BWV	mp3 P&F
Prelude No. 1	Fugue No. 1	C Major	C-dur	870	01&
Prelude No. 2	Fugue No. 2	C Minor	c-moll	871	02&
Prelude No. 3	Fugue No. 3	C# Major	Cis-dur	872	03&
Prelude No. 4	Fugue No. 4	C# Minor	cis-moll	873	04&
Prelude No. 5	Fugue No. 5	D Major	D-dur	874	05&
Prelude No. 6	Fugue No. 6	D Minor	d-moll	875	06&
Prelude No. 7	Fugue No. 7	Eb Major	Es-dur	876	07&
Prelude No. 8	Fugue No. 8	D# Minor	dis-moll	877	08&
Prelude No. 9	Fugue No. 9	E Major	E-dur	878	09&
Prelude No.10	Fugue No.10	E Minor	e-moll	879	10&
Prelude No.11	Fugue No.11	F Major	F-dur	880	11&
Prelude No.12	Fugue No.12	F Minor	f-moll	881	12&
Prelude No.13	Fugue No.13	F# Major	Fis-dur	882	13&
Prelude No.14	Fugue No.14	F# Minor	fis-moll	883	14&
Prelude No.15	Fugue No.15	G Major	G-dur	884	15&
Prelude No.16	Fugue No.16	G Minor	g-moll	885	16&
Prelude No.17	Fugue No.17	Ab Major	As-dur	886	17&
Prelude No.18	Fugue No.18	G# Minor	gis-moll	887	18&
Prelude No.19	Fugue No.19	A Major	A-dur	888	19&
Prelude No.20	Fugue No.20	A Minor	a-moll	889	20&
Prelude No.21	Fugue No.21	Bb Major	B-dur	890	21&
Prelude No.22	Fugue No.22	Bb Minor	b-moll	891	22&
Prelude No.23	Fugue No.23	B Major	H-dur	892	23&
Prelude No.24	Fugue No.24	B Minor	h-moll	893	24&
Prelude	Fugue	Key	( Key )	BWV	P&F

Sorry, I don't know what BWV stands for. But it is only for your information.
midi to mp3 through TruePianos

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My Learning Book for The Well-Tempered Clavier 2
by Anna Magdalena Bach of 2010 in the year 1744
--- This is a fiction. ---

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The object of this Prelude No.1 C major of WTC2, which my great husband J. S. Bach has aimed, is to implant the Bachs' into the score, so I think. The notes of the first bar are "CCCDEGEFGFDECHAGBEGCB". You will see the name "BACH" here. Even though this Prelude is in the C Major, there are two Bs which are Bb in English, while H is B instead. It sounds very good, but it is extraordinary. The melody is beautiful, and those two Bs are indispensable. From the viewpoint of the code progression, the first bar consists of C - C7. Additionally, the following bar is made of Dm - G7. I have never encountered this kind of code progression before. Or is this C - C7 a combination of an Ionian scale and a Mixo-lydian scale, which has flatted B? One thing more particular is the fact that Johann Sebastian tried to write a keyboard music manuscript on the grand staff with G-clif, which he has seldom done it. There is a G-clif enigma which young Mr. J. C. Altnikol will guide you. Anyway, it is great. I love it. Imagine that the sound of this prelude would fly to the Saturn or much far away. But how?

The leading melody is free and easy. It has been evolving to the final version above.

The earlier version	Much earlier version
There are no 32th-note movements that would add a delicate and artistic nuance to this Prelude.	The octave unison of the base notes had not been implemented. And the movements of notes were simple.

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Fugue No.1 C Major<

The sixteenth-notes string starting at bars 3 to 5 shows the character of this Fugue as the second subject. It will appear mainly in the bass part. So you have to use your left hand elaborately. It is natural, and let's stop acting so formally toward WTC2.

Prelude No.2 C minor

This motive is a type of Perpetuum Mobile. It is characterized by the fact that the same note pattern is played over and over again from the beginning to the end of the piece. It gives the feeling of perpetual motion, but this prelude is busily pushing toward the endpoint. The performance requires a keen sense of rhythm.

Fugue No.2 C minor

The theme is relatively short. But this Fugue is not simple. It is free and sophisticated. You can find the enlarged theme. So be careful not to stray off into confusion.

Prelude No.3 C^# Major

Smooth arpeggios continue to the near end. Then a short fugue appears in the ending.

There are some earlier versions.
only chords mp3 ---- arpeggio in WTC1-1 style mp3 ---- arpeggio in another style mp3
Possibly there are many styles of arpeggio applied to this Prelude. Arpeggio in WTC1-1 style doesn't work well here, as you may agree.

Fugue No.3 C^# Major

Soon after the beginning of this Fugue, in the second bar, a counter-fugue appears. A counter-fugue is a fugue in which the first answer is presented as the subject in inversion. The inversion of a given melody is the melody turned upside-down. It is as if; Johann Sebastian calls me, "tatatata", then I respond,"tatatata". After that our sweet conversation continues. The graphic on the right indicates the subject only. I always pay due respect to my great husband.

Prelude No.4 C^# minor

This Prelude is as beautiful as Prelude No.4 of the Well-Tempered Clavier 1. In this Prelude, notes are going upward at first. While in that of WTC1, notes are stepping down. So, they are different, but the two are beautiful and calm. I am very happy.

Fugue No.4 C^# minor

Originally, this Fugue was written in C minor. Now it has been transposed to C sharp minor for this Well-Tempered Clavier 2. Even so, this Fugue was chosen as the most suitable coupling to Prelude No.4. I lost myself in happiness with Prelude No.4 for a while. But now I have a lot to do. Yes, I am busy making copies, keeping house, and so on. This Fugue is light and clear for a change of pace.

Prelude No.5 D Major

Let's sound a fanfare! I remember the scene when Mr. Johann Christoph Altnikol came to our house for the first time. He is a young man filled with hope. When my daughter, Elizabeth Juliane Friedericia saw him, her eyes sparkled with girlish excitement. Soon he became just like a member of the family and helps me to do the compilation of this WTC2.

Fugue No.5 D Major

This simplicity contains full of significance. It sticks closely to the contrapuntal rules. It is like a quiet conversation between Johann Sebastian and Mr. Johann Christoph Altnikol. The atmosphere is more than the relationship between master and disciple.

Prelude No.6 D minor

I can feel the throbbing pulse of life in this Prelude. The pleasure of playing it springs out here and there, even though containing myself for joy. I think it's not fair - I'm having all this fun! So, I wish I could arrange it into a clavier concerto for many people to listen to.

Fugue No.6 D minor

My great husband really loves chromatic sequences. There are "D-C sharp-C-B-B flat-A", "A-G sharp-G- F sharp-F-E", "C-B-B flat-A-G sharp-G", "D-E flat-E-F-F sharp-G" in this Fugue. These chromatic sequences express something like a quiet passion.

Prelude No.7 D^# Major

This Prelude is charming, isn't it? The left hand and the right hand are whispering to each other. It expresses a meditative mood.

Fugue No.7 D^# Major

There are fewest accidentals in this Fugue among all Preludes and Fugues of WTC2. Almost all notes are on the scale of D# Major. So it is natural. There is less tension. Let's sing a Choral; Lob Preis und Dank sei unserm Gott!

Prelude No.8 D^# minor<

I have not been and won't go to the Aegean of the Mediterranean Sea, where the seawater bubbles are sparkling in the sun like the luster of pearls. Sometimes from Leipzig I turn my fond thoughts to a distant place.

Fugue No.8 D^# minor

This Fugue takes me back to the German forest from an Aegean dream. It is deep and strong. a photo taken in September 2010 by Iori Fujita at the Köthen Castle's Bach Museum I was waiting for the future.

Prelude No.9 E Major

It is a lyric. Notes are smoothly drifting across the keyboard. In the meantime, sequences like "tan tan ton ton ton" especially wake up my poetic sentiment.

Fugue No.9 E Major

"Do, re, fa, mi, re, do, si, la, si, sol, do, re, mi" is the theme or the subject of this Fugue No.9 E Major. Around "do", notes of the theme are moving delicately within an octave. It sounds like Gregorian chant. A message from Herr Hofkapellmeister Johann Caspar Ferdinand Fischer is here. Concerning "Ariadne Musica", keeping it a secret from my husband, I sent a letter to Herr Johann Caspar Ferdinand Fischer. Then he sent back to me a message. about "Ariadne Musica"

Prelude No.10 E minor

I named this Prelude as "courante of teardrops and then joy".

Fugue No.10 E minor

Enthusiasts and music pupils who studied the Well-Tempered Clavier 1 will notice that the theme of this Fugue is almost identical to that of the 15th G major Fugue of WTC1. It is longer than that of WTC1. It is the longest theme among all the Fugues of WTC1 and WTC2. And as to the musical motif, they are different with each other. It is this one I love more.

Prelude No.11 F Major

This flowing melody wraps me generously and, I'm afraid, will never end. My great husband, I guess, had an intention to replace Prelude No.11 of the WTC1 with this one.

Fugue No.11 F Major

Does the time signature "6/16" mean six beats of the 16th note in one bar? Then do I have to count 6 for each bar? I don't think so. This Fuga is two beats of three 16th notes. One beat contains three 16th notes. Tan tan Tan tan is the answer.

Prelude No.12 F minor

"Ah! Beautiful." Carl Philipp Emanuel, a child by a former wife of Johann Sebastian, is an eligible contemporary composer of today, told me, "This Prelude is beautiful and modern." Yes, nearly, it is of the sensitive style. Wilhelm Friedemann and Carl Philipp Emanuel are the leading musicians of this "sensitive style" which intends to express "true and natural" feelings with sudden contrasts of mood. Carl Philipp Emanuel also said, "All I can do is only this way, but my great father can also do this if he wants."

Fugue No.12 F minor

The motif of this Fugue seems to be utterly different from that of the previous Prelude. But the rhythmic structure is the same, and, Look, the movements of notes are only upside down. This pair of Prelude and Fugue is the fruit of deliberation.

Prelude No.13 F^# Major

From the first to the end, "ta-n ta ta-n ta ta-n ta" continues. I would like to dance with my dear husband.

Fugue No.13 F^# Major

This Fugue starts with the trill on the leading note E sharp. It is unusual and interesting.

Prelude No.14 F^# minor

dedicated to Miss Sweetpea Ich will dir Blumen schenken.

The number 14 is very special to us, the Bach. " 2 + 1 + 3 + 8 = 14 " is " B + A + C + H = BACH ". So this Prelude is also precious to me. Moreover, in the 14th bar, there is a series of notes " H Ais Cis " which can be read as " H A-B C " made of BACH. Ais is B in Deutschland. My great husband, Johann Sebastian, may say to me, " My dear Anna Magdalena, you have made an excessive stretch of the imagination on the note anagram." Anyway, I love this Prelude. It is calm and so beautiful. So I have to make him give up his plan to replace Prelude No.14 of the Well-Tempered Clavier Book 1 with this one. When you play this Prelude, the left hand must be used a little bit softer than the right hand. But the rhythm should be kept steadily. Then the melody comes out naturally while the melody line uses many kinds of note values, which produces a sense of floating unearthliness. By the way, in the second bar, there you will find an accidental sharp located at the C or C sharp. But this accidental is for the next sixteenth triplet note on E. Be careful. For your information, in the upper staff, there is a Soprano C Clef, which is different from G Clef. The note on the first and lowest line of the upper staff is C.

Fugue No.14 F^# minor

The first three notes in this Fugue are C^#, A and F^#, in other words, mi, do and la of F^# minor. These notes are strong and percussive. Recall the first notes of Prelude No.14. They are also on the downstream and F^#, C^# and A. Yes, they are la, mi and do, which should be played with a great sensitiveness on the contrary. So Prelude No.14 and its Fugue can be started and played on a common basic identity, although they have a clear individuality.

I love this Fugue very much, but this strong and percussive tension makes me exhausted. So I converted this Fugue into two kinds of ensemble. One is a string ensemble, and the other is a wind instrument ensemble. Our family ensemble will surprise my great husband, won't it?

Prelude No.15 G Major

In the first three bars and next three bars, the right hand and the left hand should play the same notes in turns. It is a good practice. And then, you have to stretch your fingers on both hands in order to play octave notes. It is also a good practice. From the 48th bar, there are scale practices, la,sol,fa,mi.re,do,si,la (Hypodorian); sol,fa,mi,re,do,si,la,sol (Mixolydian); fa,mi,re,do,si,la,sol,fa (Lydian). Furthermore, it is lovely.

Fugue No.15 G Major

I feel like this Fugue makes my head spin. Last night I had some wine a little with my family. That surely made me dizzy. The theme is made of arpeggios of 16th note and eight bars long. Can arpeggios be the theme of any Fugue? You have never thought of it, haven't you? Yes, my great husband made i

Prelude No.16 G minor Largo

The first note G at the low position is impressive. The sound seems to last long and prevail like a foundation of this Prelude.

Fugue No.16 G minor

The set of six continuous 8th notes is the feature of this Fugue. My heart was beating fast with the rhythm of these pounding six continuous 8th notes.

Prelude No.17 A^b Major

The rhythm at the beginning has a driving force that pushes this Prelude further away. But you may think this rhythm is difficult to play because the appearance of this score is unfamiliar to you. Once you get it, there is no problem. It will take you to a fantastic world. By the way, my great husband Johann Sebastian tried to write a keyboard music manuscript on the grand staff with G-clif for this No.17 Prelude and Fugue, which he has seldom done except No.1 Prelude and Fugue of WTC2. There is a G-clif enigma which young Mr. J. C. Altnikol will guide you.

Fugue No.17 A^b Major

The original material is maybe back to the age of Köten. It is simple at the start. There is no accidental in the theme. But on the whole, it was well woven with mastery of Fugue. You will find two counter-subjects. One is chromatically descending with quarter-notes, another is moving with short, quick steps as a long stream of ornamental sixteenth-notes.

Prelude No.18 G^# minor

This Prelude is luxurious because it has two lovely motives, one in the first bar and the other in the second bar. It is like a binary compound with Prelude No.10 and Prelude No.12. You may think it is cheerful. But I feel a touch of pathos in this Prelude.

Fugue No.18 G^# minor

When looking at the score, each note stays somehow lonely. Is it because there are only a few notes in a bar?

Prelude No.19 A Major

It is like a pastorale. So Mr. Johann Christoph Altnikol said to me. It looks calm and carefree.

Fugue No.19 A Major

I was in the world of pastorale just a minute before. Now I am busy. Many things to do are waiting even though I am in a peaceful time.

Prelude No.20 A minor

This Prelude could have been very simple because it is in A minor. But my great husband, Johann Sebastian, has intentionally put ten accidentals in the first bar. You can count ten accidentals also in the second bar. It should be natural because he introduced many Chromatic motions in this Prelude. The result is dim and beautiful. Yes, it is A minor. As to the note value, eighth-notes, sixteenth-notes, and thirty-second-notes adding syncopated eighth-notes are used. Commonly this kind of variety leads to an animated atmosphere. But it should be interpreted as rather calm with hidden inner strong waves. There are two voices. Both two voices basically contain similar descending Chromatic sequences. One is richly ornamented, and another consists of plain eighth notes. And they are conceived in parallel motion. So this Prelude becomes like a piece of deep and well-woven fabric.

Fugue No.20 A minor

What is the sequence "E-C-F-G#+rest"? These notes are cords or sequences of cords? An explanation is like "Im-Im-IVm-V7+rest" in a new way of expression "Am-Am-Dm-E7+rest". Then what is the next sequence "A-G-C-D#+rest"? Another explanation in a new way of expression is "Adim-C-Am7-B7+rest". There appears Diminished 7th. In fact those sequences are cadences.

Prelude No.21 B^b Major

Mr. Johann Christoph Altnikol studied this Prelude and found out that it has a new musical structure which consists of the Exposition section, the Development section, the Recapitulation section, and the Coda. He was so surprised that he taught me in detail enthusiastically. I feel sorry that I couldn't understand his explanation fully. What I understood is that he has enough ability to be one of the major disciples of my husband.

Fugue No.21 B^b Major

This Fugue is like a warm flow of a rich river. At first, it starts small, then grows to be a river.

Prelude No.22 B^b minor

This B flat minor Prelude looks like a simple three-part invention. There is no short note here, and it consists predominantly of eighth notes and quarter notes. Then a set of three continuous quarter-notes on the same B flat, which appears first in the latter part of the third bar, sounds impressively like the rings of a bell. It will emerge many times at different heights.

Fugue No.22 B^b minor

The subject of this Fugue extends over four bars, while the graphic of this page only shows three bars. It is long and slow.

Prelude No.23 B Major

This Prelude should be played lively. But at the same time, it brings me some transitoriness. It is like flowers that bloom cheerfully and are gone pretty soon later.

Fugue No.23 B Major

You may say, "do mi, la fa, re si" is nothing but an arpeggiation of "I, IV, V," a basic and simple code progression. But the harmonization of the theme or subject in the latter part of this Fugue makes you believe that this theme is natively extraordinary. Then you recognize that this solemn and strong theme is so impressive that you can feel the time and space surely wide.

Prelude No.24 B minor

allegro Flowers of Jasmin

One of the birthday flowers of the 21st of March is Jasmin. Johann Sebastian Bach was born on the 21st of March, 1685. Now, he is my great husband. He loves coffee, but I don't. I love tea. Especially, I love the scent of Jasmin.

Fugue No.24 B minor

Before the theme appears for the second time on B, the initial theme spends 24 notes. You can also count how many. Anyway, it is a simple Fugue. The theme uses only one accidental. So, it should be simple. The number 24 or twenty-four is special for my great husband, Johann Sebastian. When I came to the 24th Prelude and Fugue, he gifted me a bunch of 24 yellow carnations. I love yellow carnations, and I was deeply moved by his recognition.

24 Flowers of Carnation

This is my husband's own handwriting.fine!
This is my husband's own handwriting.
It is the End of the second volume of the Well-Tempered Clavier.

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