Here remains a prelude that I still prefer to it’s fugue, even in my contrapuntally-biased old age. How I love this prelude! I’ve taught it to a couple of wonderfully talented students, both of whom struggled with the voicing — a delicate, fluttering affair of great beauty, easily squashed by heavy, un-careful playing. Which line to bring out: the after-beat top voice? the on-the-beat and weightier bass note? the last note of the middle wiggly part? I vary the voicing by measure almost, trying to find something that constantly tickles the ear into the “ooohhhhmmm” qualities of this wondrous piece. There’s absolutely nothing wrong with the fugue, and much to love — but it is overshadowed by the spectacular prelude which concludes by breaking into an exciting “alleluia” — or at least, that’s my opinion, man.
I think the finest version of this prelude (and its fugue) I have heard was recorded by my friend, Stephen Prutsman. Tragically, you must buy his album — from him, personally — to hear it, which is a travesty. The image above is of his album of the WTCII, which has kept me company across many road trips through the Midwest. Someday his recording of the WTCII will be ubiquitous, and righteousness will rain down like manna upon us all. In the meantime, Edwin Fischer played this Prelude and Fugue superbly back in the 40s, and you can YouTube his recording easily.
Perversely, I read through this Prelude on August 3 — on schedule — but due to the sheer enjoyment I get from playing it, I just now (on the 6th) realize I didn’t blog about it! Happily I can make WordPress think I wrote this on August 3rd, and keep the WTC II in order.