最近听 BWV 547, 相当来劲。前奏曲主题可以说就是个音阶, 但是由这个音阶而衍生出来的全曲, 那简直是从无到有, 一生 ... 生万物。

非常牛逼非常娴熟的高端职业玩家教你向属方向转调: (前奏曲 8~12 小节)

介绍它的背景资料不是很好找; 目前在 Naxos 网站找到两段。

第一段:

J. S. Bach’s Prelude and Fugue in C Major, BWV 547, is unusual in a number of important respects. It is the only organ prelude in a 9/8 time signature, endowing it with a particularly dance-like mood and earning it the obvious nickname, "The 9/8." The prelude begins with canonic entries in the manuals and a fanfare theme in the pedal that also ends the prelude. The first six bars present nearly all of the motifs that make up the entire piece. This economic use of musical material is not unusual for Bach, but in this piece the inventiveness with which he combines and varies the motifs is unparalleled. The fugue is particularly unusual, in that there is no use of the pedals for a full two-thirds of the piece. They make their dramatic entrance in one of the most glorious moments in all the organ fugues, with an augmentation of the fugue subject against stretto entrances of the subject on the manuals. In both the prelude and the fugue a climax is reached when Bach experiments with silence and space in the music, just before the expected low C pedal-point. It is one of Bach’s most tightly organized and yet viscerally effective prelude and fugue pairs.

J.S. 巴赫的《C大调前奏曲与赋格》, BWV 547, 在许多方面都非比寻常。这是唯一的 9/8 拍的管风琴前奏曲, 具有浓重的舞曲色彩, 也因此而得到 “八分之九” 的别名。主题通过键盘卡农式地进入, 踏板部分的主题随即大张旗鼓地进入, 构成了前奏曲的开篇; 踏板主题同时也结束了该前奏曲。全曲中几乎所有的动机, 都在头六个小节中得以呈现。如此经济地使用音乐素材, 对巴赫来说是稀松平常; 但在此曲中, 巴赫在对动机进行组合、变化中的创意, 却是无与伦比的。

赋格也相当与众不同: 近三分之二的时间没有使用踏板。加宽主题在踏板进入的同时, 键盘亦有主题密集合应。这一戏剧性的进入, 构成了所有管风琴赋格中都难得一见的辉煌时刻。

巴赫将休止 (说白了就是大喘气) 运用于持续底音C之前, 构成了全曲的高潮, 在前奏曲和赋格曲中都是如此。此曲是巴赫组织最为严密高效的前奏曲与赋格之一。

另一段:

Bach's Prelude and Fugue in C major, BWV 547, is strikingly different from much of the composer's work of this kind. Written apparently after 1723, the Prelude opens with a three-voice contrapuntal composition for the manuals in 9/8 metre, with an unusual bass part for the pedals, including a distinctive rhythmic figure when it enters. The same rhythmic figure ends the Prelude. The first 48 bars of the fugue make no use of the pedals, which are used only in the concluding 24 bars, the last five and a half providing a tonic pedal-point. The first pedal entry is in fact in augmentation of the opening of the fugal subject, which itself is treated with the greatest contrapuntal ingenuity.

巴赫的《前奏曲与赋格》, BWV 547, 与同类作品有着极大的不同。作品完成于 1723 年, 前奏曲 9/8 拍, 键盘部分三声部对位, 踏板低音部分以一种与众不同的节奏型进入。同样的节奏型也构成了前奏曲的结尾。赋格的前 48 小节完全没有使用踏板, 只在后 24 小节才用到踏板, 最后 5 个半小节还是持续主音。踏板第一次进入实际上是赋格主题的加宽, 运用了最富有创造性的对位技法。