Beschreibung:
The preludes of the Wohltemperirtes Clavier constitute an architectonic and structural unity. Both volumes of the work are logical unfoldings of a conception of symmetry. The symmetry expressesitself not only through a prior objective ordering, but also as differentiation of textures and even includes a systematic treatment of subjective moments. Bach's music, which is neither objective nor subjective, gains its subjective, eventful qualities via its architectonic, objective characteristics. The implications of Bach's concept of form for the history of ideas are examined, and the context of Lutheran theology is considered.