In this installment, I cover the preludes/fugues in D and D minor.  For me,
these two preludes are "fast travelling" in nature, while the fugues deal
with death:

9.  Prelude in D - This is a relatively wild ride where a husband is
driving his soon-to-deliver wife to the hospital.  Although both the wife
and her husband are very anxious, there is a hectic sense of anticipation
after 9 months of waiting.  Schepkin does well, but his tretment of the
bass line is not quite as effective as with other pianists.  *3*

10.  Fugue in D - I hear this fugue as a "victory for death".  Both mother
and baby have died in the operating room.  The fugue sees all this from
Death's position, with a little fanfare at having drawn in two people at
the same time.  Schepkin is superb here.  *4*

11.  Prelude in D minor - Another wild ride, but this time it's the old
"Keystone Cops" from old movies who are chasing the bandits.  This Keystone
Cop episode possesses no humor.  The chase is hot and fast, and the KC's
plunge to their death off a cliff; you can even hear their police vehicle
"go down".  Schepkin displays all I could want: tension, panic, speed,
menace, and the sense of the plunge off the cliff.  *4*

12.  Fugue in D minor - The Keystone Cops receive their funeral, and folks
come from hundreds of miles away to attend.  After all, these were famous
"coppers".  The sense of despair and ultimate acceptance of death is very
strong.  This is a powerful piece of music with many emotions tightly wound
into the fabric, and Schepkin plays it for all it's worth.  *4*

I've been presenting little story lines with the music.  These stories
are very personal, so I wouldn't expect that any other individuals would
be conjuring up the same images.  Also, Bach did not convey any stories;
he conveyed emotions.  I just take them and the story unfolds.  Next
installment is tomorrow.  Up to this point, I am very impressed with
Schepkin.

Don Satz
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