The Prelude and Fugue in C Major, BWV 846, is a keyboard composition written by Johann Sebastian Bach. It is the first prelude and fugue in the first book of The Well-Tempered Clavier, a series of 48 preludes and fugues by the composer.

Bach - WTC Vol. 1 Prelude In C Major BWV 846

It was originally written for the piano and set in the key of G minor. It was first published in Barcelona, by Juan Bta. Pujol & Co., in 1892 as the prelude of a three-movement set entitled Chants d'Espagne.

The name Asturias (Leyenda) was given to it posthumously by the German publisher Hofmeister, who included it in the 1911 "complete version" of the Suite española, although Albéniz never intended the piece for this suite. Despite the new name, this music is not considered suggestive of the folk music of the northern Spanish region of Asturias, but rather of Andalusian flamenco traditions. Leyenda, Hofmeister's subtitle, means legend. The piece is noted for the delicate, intricate melody of its middle section and abrupt dynamic changes.

Albéniz's biographer, Walter Aaron Clark, describes the piece as "pure Andalusian flamenco" with a main theme that mimics the guitar technique of alternating the thumb and fingers of the right hand, playing a pedal-note open string with the index finger and a bass melody with the thumb. The theme itself suggests the rhythm of the bulería — a song from the flamenco repertoire. The ‘marcato’/'staccato’ markings suggest both guitar sounds and the footwork of a flamenco dancer. The piece sounds as though it is written in the Phrygian mode which is typical of bulerías. The second section is a reminiscent of a copla — a sung verse following a specific form. Clark states that it is written in typical Albéniz form as it is "presented monophonically but doubled at the fifteenth for more fullness of sound. The music alters between a solo and accompaniment that is typical of flamenco. The short middle section of the piece is written in the style of a malagueña — another flamenco style piece. The malagueña borrows two motives from the previous copla and builds on them. The piece returns to its first theme until a slow "hymn-like" passage ends the piece.

Many have attributed the first transcription for guitar to Francisco Tárrega who put it in its most recognizable key, E minor. According to the guitarist and guitar scholar Stanley Yates, the first guitar transcription of the piece was probably by Severino García Fortea, although Andrés Segovia's transcription is the most famous and most influential.  The piece has become one of the most important works of the classical guitar repertoire.

Albéniz - No. 5 Asturias (Leyenda) Suite Espagnola

Grieg - Lyric Pieces Op. 38, no. 2 (Volksweise)

Grieg - Lyric Pieces Op. 38, no. 3 (Melodie)

Waltz

Mozart - Piano Sonata in C Major, K.545 MVT 1

Scarlatti - Sonata in G Major K. 2

Scarlatti - Piano Sonata in F Major K.6 L.479

Scarlatti - Piano Sonata in A minor K.7 L.379

Scarlatti - Piano Sonata in C Minor K.11 L.352

Scarlatti - Piano Sonata in F Major K.17 L.384

Bach - Sarabande, French Suite no. 3, BWV.814

Bach - Prelude no. 12 in F minor, BWV, 857

Only very few piano works have become as popular as this theme with twelve variations. It already caught on soon after Mozart’s death, as witnessed by the numerous handwritten copies and prints. Although nothing is known with any certainty regarding its genesis, we can now conclusively date “Ah, vous dirai-je Maman” to 1781. At that time Mozart wanted to make his way as a prominent piano teacher in Vienna. His variations still prove to be excellent teaching material.

Mozart - 12 Variations on Ah, vous dirai-je Maman, KV. 265

Grieg - Lyric Pieces, Op. 65 No. 6 (Wedding Day)

Rachmaninoff - Prelude Op. 32 No. 12

I discovered this little gem by Liszt. Easy and very relaxing to play, this is from my power practice session today while waiting for my next student at school (you should here her coming in at the end).

Liszt - En Rêve:  Nocturne S. 207 (1885)

Frédéric Chopin - Nocturne in C-Sharp Minor Op. Posth

Scarlatti - Sonata K.1 Allegro

Scarlatti - Sonata K.32 Aria

Piece pour le vetement du blesse

Debussy - Piece pour le vetement du blesse

I do what I do.  It is not much, but it is something and therein a legacy is born.  Music and sound (in any form) has always been my passion.  It is my space of expression.  It is where I feel home.

Werner Richards

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