#Classical365: 22 – #Classical365: 20 – Well Tempered Clavier (I) – Prelude & Fugue 2 in C Minor BWV 847

Lost my earphones. God only knows where. Suspect it was in the pub last night.

Yes, I went to the pub. So much for staying off booze during the week. Last night I caved in. Went to the Yorkshire Grey close to Broadcasting House to celebrate a colleague’s birthday. Said yes to a large glass of red, then had another. Was then persuaded to have a small glass after that. Nice to chat to people outside of the office surroundings.

That’s where I think I lost my earphones.They probably fell out of my coat pocket when I put it on to go home. Cycled all the way from the pub to Oxford Circus tube station and then realised I hadn’t got my bag with me. Pedalled like fury back to the pub convinced I’d left the bag on the pavement. I hadn’t. It was in the pub. Crying shame I didn’t keep an eye out for the earphones them. Really miss them.

So as a result, I missed out on listening to something yesterday. It was going to be Mozart’s Piano Concerto No.24. I shall save it for another day.

Today’s work was pragmatic. More Bach. The second prelude and fugue. They’re bite-sized indulgences which succeed in only a healing at the end of a long day.

By hard day, I’m not talking coal-mining-hard. Just really felt how exhausting constant interactions with so many different personalities really take their toll. There’s the anticipation, the actual moment, the reviewing, the reflection and then the subsequent follow up. Some go absolutely fine and are an absolute joy. Then there are those which are unnecessarily challenging, those when you feel you need to accommodate someone. Interactions that you bend like a reed in the wind.

I’ve listened to a few different versions of the C minor prelude and fugue. Barenboim is too fast – as though he’s furiously pedalling a spinning wheel. Pierre Laurent-Aimard’s interpretation is more to my liking although the ambience in the recording makes the fugue a little twee and reverential. Also tried the Helios Guitar’s arrangement of it – largely unsuccessful.

The dryness in Gould’s acoustic makes his the most appealing for me. There’s a fury in his playing despite the slower tempo he takes in the prelude – I particularly like the fact that I can still hear the gaps in between the notes. At the beginning of the fugue there’s a hint of sweetness in the air. The robotic style at the opening of the prelude is a distant memory – we may just get a smoothness by the end of fugue. We don’t. But, that doesn’t matter. Because we get a major key to round things off. A flash of order restored. Utter perfection.

I was listening to JS Bach’s Prelude and Fugue No.2 in C Minor BWV 847 played by Glenn Gould on Spotify.

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