Very lively performance and piece. Fun to listen too! And I would guess it's fun to play it as well. What fascinates me is these global Baroque idioms in these composers, such as sequences and pedal points. What particular cadence is just like in D minor Toccata by Bach.
You are viewing a single comment's thread from:
There sure is a stylistic idiom that goes beyond the particular style of an individuel composer. It's not just the Baroque idiom that creates similarities between Kellner and BWV565. It's more the way the fugue of BWV 565 is written, compared with the way J.P. Kellner writes his fugues. It is well known that the fugue of BWV 565 is rather clumsy in it's counterpoint and not at all on the level of his other writing. In his fugues Kellner reverts as soon as possible to essentially two part writing, even if it is a four or five part fugue. The fugue of BWV 565 is most of the time just two part writing as well (chords in one hand, pedal point, etc). That's no proof either way, I know. It's just that fugues by Kellner and the fugue of BWV 565 have a very similar feel.
Could be that it is a piece by a teenage Bach when his knowledge of counterpoint wasn't developed yet.
Yes, of course, that could equally well be the case. It's just that the theory Kellner might be the composer once sounded preposterous to me. Nowadays, not so much anymore.
Posted using Partiko Android