Ramin Bahrami The Colors of Bach
The well-tempered harpsichord is the subject of a paradox: a fundamental work of the stoia of music, it struggles to be followed by the public in its entirety.
Ramin Bahrami has always thought that the well-tempered harpsichord was not just a didactic work, an inviolable monolith that must be performed and enjoyed in its entirety.
In reality, an affective project coexists in this masterpiece and the correct approach for an interpreter and also for the listener is to rely on the Affektenlehre, that is the doctrine of musical affects. "Adequate feelings to be expressed each time according to a very specific state of mind" declares Bahrami "for example alternating Joy - Serenity - Sadness - Pain and so on.
In the eighteenth century, as well illustrated by the treatises on rhetoric, musical affects also required an adequate interpretation. "In fact, at the time of Bach the performance was absolutely free and the work was not necessarily played in its entirety: the first complete performances date back to most likely in the Beethoven era.
Thanks to the selection made by Bahrami, The Colors of Bach indicates the path of the "feelings" present in this masterpiece through the Preludes and the Fugues that most highlight this aspect. A different, unconventional approach, which reveals the more human character of the immense genius of Bach.
- Traces Ramin Bahrami The Colors of Bach
Book I
No.1 BWV 846 - No.3 BWV 848 - No.5 BWV 850 - No.9 BWV 854 - No.12 BWV 857 - No.13 BWV 858 - No.22 BWV 867 - No.23 BWV 868
Book II
No.2 BWV 871 - No.4 BWV 873 - No.12 BW881 - No.14 BWV 883 - No.16 BWV885 - No.18 BWV 887
Ramin Bahrami at the piano.
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