CRAIG 5/27:
I”ve been gathering a few notes on these as I went through. I did get behind by maybe 5 preludes/fugues along the way.
Here are some late, late notes on finishing, starting with #14. My musicology needs a lift, so I’m learning a lot from you all.
Prelude 14:
I felt dark, brooding and serious when playing this, although it made my left arm hurt more than my covid vaccination. It reminded me of a goth club in Tokyo in the 80s called “La Femme,” which was a grey room in a basement with Geiger prints on the walls. Everything was grey.
Fugue 14:
Who doesn’t love a C flat? I know I do. This one was quite chipper compared to the last one — sort of light, like Olga Korbut’s 1972 Olympics floor exercise. But when I play it, Olga is moving very, very slowly, flying through syrup air. When will she land? Will she ever?
Prelude 15:
This one made me feel good. It moved right along, and I felt confident and really good about myself. Is this feeling real?
Prelude 23:
Oh. Oh oh oh oh. Oh. And oh. I love it — “this sad prelude.” (Wikipedia)
Prelude 24:
I was quite lost but still wanted to feel the power. And I did! What a magnificent ending.
I haven’t listened to all the performances, but I have to say it will take a lot to persuade me away from Tatiana Petrovna Nikolayeva.
Her finale to XXIV is just amazing to me to watch — she has lived a whole life of this: https://www.youtube.com/watch?v=dQPS7CmZlHM&t=4919s. It is riveting.
HELEN 5/28: Wow, Craig. I love reading about your experience, and thanks for the great references.
GRACE 5/29: Hello 24 pieces crew!
I finally caught up and finished the last prelude and fugue yesterday! Wow that stately prelude, and the beautiful theme of the fugue… amazing.
HELEN 5/30: Yay, Grace! Bravo, everyone!