The WTF Bach Podcast

• Ep. 105: Isak Dinesen, 'The Immortal Story'

  Enjoy this powerful story (1953) by Karen Blixen.-EvanWe Survive on your Donations! Thank you!We encourage our listeners to become a paid subscriber at wtfbach.substack.comYou can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachSupporting this show ensures its longevity!—Help WTF Bach reach more listeners— Get full access to WTF Bach at wtfbach.substack.com/subscribe

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• Ep. 104: Bach (Almost) Spells His Name in a 5-Voice Triple Fugue

  “Bach the master surgeon leaves no scar.”Listen on wtfbach.substack.com for the best experience. Subscriptions are free!There are only two five-voice fugues in The Well-Tempered Clavier, and only two triple fugues. This fugue is both— a five voice triple fugue. Should I be tempted to add some (perhaps too convenient) theological rhetoric to this fugue, an analysis might read like this:Three subjects in one fugue? Why yes, the trinity in music! The themes enter, Son, Holy Spirit, and God the Father. See first God the Son, a man, very nearly B-A-C-H: The first entrance of the Pentecostal waves comes, aptly, from the top down. The Holy Spirit is rendered:God the Father finally makes an appearance, with his perfect interval, and three repeated notes:On the final page, the Holy Spirit vanishes, leaving father and son in an impressive stretto:N.B. I’m not convinced Bach had any of this in mind. At least since Schweitzer, however, people have seen the image of the triune God in Bach’s triple fugues. I believe at this time in Bach’s career, he had not quite codified his theological word painting, so if in fact Bach was thinking of the trinity, it is in any case represented more clearly in the triple fugue from Book Two, in f-sharp minor. There, the themes enter in order (as they do in the ‘Saint Anne’s’ Prelude and Fugue BWV 552) Father, Son, and Holy Ghost. Biographical and theological readings aside, this is a striking and important fugue. Its prelude is no less beautiful. A most interesting revision comes at bar 14. The earliest version reads:Only two bars, dominant to tonic. In revision, Bach seamlessly adds an additional two bars, stretching (and perhaps smoothing) out the harmonic rhythm. Bach the master surgeon leaves no scar: People Mentioned:Albert SchweitzerMieczysław HorszowskiShirley PerleSeymour LipkinPierre HantaïWe Survive on your Donations! Thank you!We encourage our listeners to become a paid subscriber at wtfbach.substack.comYou can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachSupporting this show ensures its longevity. Help WTF Bach reach more listeners.Concepts covered:The Well-Tempered Clavier (BWV 846–893) is one of the great monuments of Baroque music, counterpoint with theological tone painting. A remarkable triple fugue: the C-sharp minor fugue from Book I (BWV 849) (another triple fugue is the F-sharp minor fugue from Book II BWV 883). The C-sharp minor stands out as a five-voice fugue and triple fugue, an extraordinary rarity in the keyboard literature. Some interpreters have seen theological symbolism in the three subjects—Father, Son, and Holy Spirit—Bach’s mastery of structure, harmonic rhythm, and Bach in revision. The development of contrapuntal technique, musical spelling, such as the B-A-C-H motif Get full access to WTF Bach at wtfbach.substack.com/subscribe

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• Ep. 103: The 'Covid Etude' Moral + Tureck’s Hallucination (11 min.)

  “It seems that classical musicians — and as I now understand, jazz musicians at conservatory— are trained to forget the purpose of the music right at the point they start interpreting it.”In this short episode (11 minutes of talking + 10 minutes of music) I read an entry from my practice diary which may be interesting enough to ponder… As it was passed around during covid, the “Coronavirus Etude” looked something like this:Hopefully you’ll enjoy the lesson I got out of the few ‘performances’ made of such a meme.Meanwhile, Rosalyn Tureck is featured for the first time on this show. Here is a picture of her at a Moog. (I didn’t mention that one of my favorite facts about her is that she espoused this instrument as a perfectly valid way to capture Bach’s music.) Her personal “revelation” about Bach, as related in David Dubal’s Reflections from the Keyboard is read in full.We Survive on your Donations!We encourage our listeners to become a paid subscriber at wtfbach.substack.comYou can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachThank you for your support.Concepts Covered:In this episode of the WTF Bach Podcast, host Evan Shinners holds off on his exploration of Bach’s Well-Tempered Clavier, reflections on the five-voice fugue in C-sharp minor to come. Instead, practice diaries, and the balance between discipline and spontaneity in classical music is discussed. Drawing on his own pandemic-era “Coronavirus Etude” entry, Shinners critiques how performance can drift from function to ritual, turning practical gestures into overly sanctified art. He also shares stories of pianist Rosalyn Tureck and her personal revelation about Bach, contrasting her style with Glenn Gould and highlighting the diversity of Bach interpretation. This episode blends humor, history, and performance insight. Bach enthusiasts, and anyone interested in the philosophy of practice and interpretation in classical music. Get full access to WTF Bach at wtfbach.substack.com/subscribe

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• Ep. 102: Bach's Most Famous Prelude (& Fugue...) BWV 846

  In the beginning was the arpeggio, and the arpeggio was in C major, and the arpeggio was C major…To which ill-tempered friend will you send this?We are lucky Bach bothered writing out his arpeggio preludes. Here, for example, is what would later become the C-sharp Major prelude, from Book 2:Who, without the aid of Bach’s revisions, would be so bold to turn that into:So too, in the early versions of the opening of the Well-Tempered Clavier, Bach loses little time writing out the figures. He even stops writing half-notes toward the end:Only 24 bars in its conception! A further revision in W.F.’s notebook sees a 28 bar version of the piece— the fair copy of 1722 is 35 bars (not 36! Listen for my discussion of the Schwencke measure.)Some other pieces in this style: The fugue also underwent revisions, especially to its theme. Layers A1 and A2 have:Landowska recorded this version and wrote program notes about her decision (heard in the episode.) The 32nd notes of the subject were added in the third ‘layering’. Finally, Bach makes the finest revision in A4— in the 1740s(!), changing the bass in bar 15:to this:Finer and finer. Curvier and curvier. The image of Bach in the workshop with the chisel is a fascinating one. Links mentioned:The earlier episode covering this prelude (inverting it chromatically and other fun tricks)Regarding the 2nd note each arpeggio in the earliest version of the prelude, see Legato playing and hidden polyphony on the harpsichord (Thanks to Erzdorf for sharing this, highly recommended.)And, as mentioned in the episode, Wanda with Leo Tolstoy:Donate to this Resource:The best way to support, is to become a paid subscriber at wtfbach.substack.comEnough paid subscribers = exclusive content, monthly merchandise giveaways!You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for your support.Concepts Covered:We discuss the prelude as a possible invitation to check the new system tuning, the famous pieces of Bach, and the Minuet in G being not by Bach but by Petzold. Explore the evolution and historical significance of Bach’s Well-Tempered Clavier, a landmark in keyboard literature and tuning theory. This episode traces Bach’s compositional development of key preludes and fugues, such as the C-sharp Major Prelude (Book II) and the C Major Prelude (Book I), BWV 846 analysis, revealing how Bach expanded brief sketches—some only 24 bars—into fully realized works through meticulous revisions. The Schwencke measure- his mistake. Discussions of simplifying Bach, also we examine counterpoint in detail, including changes to fugue subjects, rhythmic diminution, and voice leading, with examples from layers A1–A4. The discussion includes the function of the preludes as tools to demonstrate well-tempered tuning, their pedagogical role, and Bach’s workshop-like revision process. Also covered: authorship controversies, authentic Bach, such as the Minuet in G, long attributed to Bach but now credited to Christian Petzold. An in-depth look at how Bach's compositional process shaped one of the most enduring works in Western music. Get full access to WTF Bach at wtfbach.substack.com/subscribe

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• Ep. 101: The Well-Tempered Clavier! Analysis, History, Revisions

  It’s high time we delve into what Schumann called a musician’s ‘daily bread.’ The Well-Tempered Clavier is one of the collections closest to the composer’s heart—and to the hearts of countless other musicians throughout history.The episode on temperament I mentioned.I think of the two books of this collection as having only outward similarities. The music in both parts are as separate as The Art of Fugue and the Inventions— even more so. Book One, incidentally the only part to be called “The Well-Tempered Clavier” was written in a condensed period of time, whereas its counterpart was ‘assembled,’ as it were, over some twenty years. We begin not quite at the beginning, (a special episode will be devoted to the C Major pair) but with the third prelude and fugue, in C-sharp Major, BWV 848. Compare the earliest version which I play in the episode:to the version which we know: We’ll discuss Bach in revision, the four ‘layerings’ in the first part, as well as the source tradition of both books, the stylistic differences between Book One and Book Two.Donate to this Resource:The best way to support, is to become a paid subscriber at wtfbach.substack.comEnough paid subscribers = exclusive content, monthly merchandise giveaways!You can also make a one-time donation here:https://www.paypal.me/wtfbachhttps://venmo.com/wtfbachhttps://cash.app/$wtfbachThank you for your support.Concepts Covered:This is an introduction to the Well-Tempered Clavier. Explore the depth and legacy of J.S. Bach’s Well-Tempered Clavier, a collection that Robert Schumann famously called a musician’s “daily bread.” This post examines the differences between Book I and Book II of the Well-Tempered Clavier, focusing on their distinct compositional histories and structural identities. The Prelude and Fugue in C-sharp Major, BWV 848, comparing its earliest version to the final form familiar today. Along the way, we’ll unpack Bach’s process of revision, the layered construction of Book I, and the source tradition of Book II, offering valuable insight for students of Bach analysis, keyboard music, and Baroque performance practice. Get full access to WTF Bach at wtfbach.substack.com/subscribe

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