英皇钢琴八级考试曲目注解
Prelude and Fugue in F minor, BWV 881: No. 12
Johann Sebastian Bach

Note how this prelude begins on the halfbar and thereby engenders a gentle rocking movement throughout. Remember that baroque music was not intended to be one colour. Certainly we cannot play it like music of the romantic period. However, the articulation of the music owes much to the other instrumental music of the period while the contour or shaping of the lines and motifs gains from an awareness of the vocal music of the time. Instrumental imagination and imitatign will therefore help colour the voices. Imagine an oboe d'amore in the right hand with wind or string bass in left hand. Work for a smooth musical and technical integration between the hands in the rhythmic diminution from bar 4 onwards and in similar places. Study the voicing of left hand bar 20 onwards, use a secure fingering that will allow you to be expressive. In the penultimate bar, consider gently spreading the two chords.

Study the subject of the fugue and see ifyou can spot similarities to the opening of the prelude. Also consider whether this fugue continues the mood of the prelude or whether it should be played in a contrasting style. If you think that a contrasting mood is required then this will help influence your choice of articulation. Study the voices separately before fitting them together. When the middle voice crosses between hands there must be no change in the sound quality or line- the listener must not be aware of how the music is distributed between the hands.

约翰塞巴斯蒂安巴赫，前奏曲与赋格曲F小调，881-12此曲目的前奏，从开始到结束要始终保持柔和与动感。切记巴洛克时期的音乐不是一个旋律（复调）。我们很难能演奏出当时浪漫的音乐风格。因为，当时的钢琴与现在的不同，所以用现代的钢琴弹奏出的声音有差异，所以，借助于想象力和模仿来达到当时音乐的效果。试想右手是一个双簧，左手是大提琴。从第4小节开始，左右手弹奏出的乐曲要连贯、流畅，每个音符的时值弹足，其他同样的地方亦然。从20小节开始，右手伴奏，左手旋律。在倒数第二小节，小心柔和的弹奏出二和弦。
弹奏赋格时，你会发现赋格的主题时与前奏相似，既要考虑是否继续前奏的情绪，还是应该发挥在一个截然不同的风格。在合手之前，必须分手弹奏，这样两手合奏，才能让人听起来和谐悦耳。