Author Sergey Strelchenko
The well-tempered clavier is rightfully considered a kind of encyclopedia of Bach’s images. In the rare variety of chamber forms of The Well-Tempered Clavier, Bach reveals the large and complex inner world of man, his artistic and poetic images, the richest area of human feelings.
Bach wrote The Well-Tempered Clavier, wishing to introduce into artistic practice the ability to use all keys of the tempered system, which he himself announced in the following expressions :, D, E and minor D, E, F. Written for the benefit and use of young people who are eager to learn music, especially to while away the time for those who already have experience in the field. “
Both volumes of the pieces of The Well-Tempered Clavier are arranged according to the same formal principle. Each prelude and fugue constitutes a separate, independent work, united by a common key: prelude and fugue in C major, prelude and fugue in C minor, prelude and fugue in C sharp major, prelude and fugue in C sharp minor, etc. chromatic order, covers the entire range of sharp and flat keys of major and minor modes.
The Prelude and Fugue in C sharp minor, BWV 849, is a pair of keyboard works by Johann Sebastian Bach. This is the fourth prelude and fugue in the first book of the Well-Tempered Clavier.
The prelude is a mournful arioso, its theme corresponds to the image of “raising your hands up and powerlessly lowering them”.
The original theme of the theme sounds in the two-part inventions of Bach in E minor and F minor, which speaks of the general content of these works – prayer concentration. In the prelude there are many descending scales (katabasis) – “signs of sadness”; often there is a symbol of predestination (acceptance of the lot – “Thy will be done”) and a symbol of comprehension of the will of the Lord.
In bars 26 and 35-36, the first theme of the fugue appears – the cross, but presented from end to beginning. It symbolizes the performance of the crucifixion.
The fugue has three themes.
1st theme – one of the most important symbols of Bach – the symbol of the cross, crucifixion. The origins of this motive go back to the chants “Num komm, der Heiden Heiland” (“The Savior of the Gentiles is coming”) *, “Christ, unser Herr, zum Jordan kam” (“Christ our Lord has come to Jordan”). ) **, “Was mein Gott will, das g ‘scheh allzeit” (“What my God wants will come true”).
In various interval and rhythmic variations, the cross symbol is found in many, if not all of Bach’s works.
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