I am kinnda confused about how to interpret and play Bach on the piano. I don't know whether I should approach the score romantically (but not much) and try to add much nuances here and there and playing lazy legato with my fingers (lazy fingers are when you don't lift the previous sound until you play the next sound so that the sounds overlap. This guarantees a perfect legato.)Or I should play it in a restricted Mozartian style, where nuances were limited and the touch detached resembling the touch of an old fortepiano. I feel it is a big debate as we find recordings from world-reknown pianists who each conform to a rule of those. I just want to know which approach is better. My teacher told me to play Bach deeply with emotion and seriousness and with an emphasis on a perfect legato.
I depends on what sort of performance you are after, if you want it authentic then do not play it legato, but bach did not include dynamics, articulation or even tempo in his works as they were suppost to be interprated by the performer, but i think it is neglecting the advantages of the piano not to play expressivley, but i think you should interprate the piece yourself and if you feel it should be romantic, then play it romantic, Music is an art form so there is no right or wrong
But why does Busoni write quasi flauto in his Bach editions? And why does Liszt write so many times, vibrato[/i/]? It is because these things are possible, not because they are impossible.
Great post, Walter, and I agree with everything you say. But how exactly do you make a vibrato sound on the piano?
You don't! I seem to recall the clavichord might lend itself to some sort of vibrato, but not the piano, since it's physically impossible. I notice this is an old thread resurrected, but if it's of any interest, I wonder why the poster would say Mozart is played with limited nuance. I disagree that either Bach or Mozart ought to be played with "little" or no nuance. The interpretations of each composer are quite different in my mind, too. Bach's dynamics, for example are more terraced rather than being Romantic style crescendos, etc. And while Bach's music to me is a stunning piece of architecture, Mozart's is purity and grace personified, and interpretation depends on the feel of the music.
Very true, but don't underestimate Mozart's architecture. His music is put together brilliantly.
I am kinnda confused about how to interpret and play Bach on the piano.
My teacher told me to play Bach deeply with emotion and seriousness and with an emphasis on a perfect legato.
So... good morning all, and welcome back to me, who hasn't been on this forum for a while now!I cannot believe such a fine bunch of musicians as yourselves have managed to speak on articulation to this extent, without mentioning acoustics.Allow me to generalise, and say that Bach himself performed mostly in very large acoustics, whether at court, or in churches. Modern concerthalls fall usually within certain parameters - optimized mainly to romantic symphonic repertoire, piano recitals, and sometimes for clarity of the spoken word. Now obviously if one were to record a piano disc [Liszt, Rachmaninov, any of the big stuff], somewhere like the Boston Symphony Hall might be your preference, if you could get it. And most modern concert halls are designed to fall somewhere in the vicinity of this room.Now back to Bach... and if you look at the places he performed his music, on a weekly basis, you see that they are generally far more cathedralesque... sounds are more "floaty" and less direct than the most acoustically-generous of modern halls, not to mention far longer reverberation times [perhaps 8 or 9 seconds compared to about 2 in Boston Symphony Hall], and "wetter" or at least "less clean" sounding.If you hear perhaps a Bach Cantata in a European cathedral/church, it would probably be a far different experience to the same cantata sung by the same choir, in a modern concert venue.So, by extrapolation, I would propose that, as a rule for a good musician, the playing must be tailored to the acoustic. The same prelude and fugue would be played very differently in [1] Notre Dame, [2] Boston Symphony Hall, [3] a lounge room. In all three cases, the instrument could well be the same [a Steinway B, a harpsichord, whatever], but the playing would change.In the same way that Bach on a Steinway is far from "original practice", so too is Bach in a modern venue. Now what I don't understand is why today's pianists, performing on Steinways in modern halls, are so interested in authenticity.... "Bach didn't play legato, so I won't".I'd say Bach was a musician first and foremost, and tried to get the best and most musical result, using whatever was available. However, to be scientific about this, my main point is that "articulation" is really an acoustical question, if one is interested in the "effect" of the articulation moreso than the "cause" [the finger's duration and touch on the key].So surely this is the startpoint for a musicians' dialogue on Bachian articulation?
https://www.youtube.com/user/Dchrisanthakopoulos
1) When a piece by Bach is played by a modern piano we already hear a trancription. Authenticity is irrelevant because the sound it by default different from what Bach had in mind.2) Bach wrote not only for keyboard. I usually try to think of orchestral or choral "instrumentations" when playing Bach. A 4 voice fugue for me is supposed to sound like a string quartet or a choir with sopranos, altos, tenors and basses.
2) Bach wrote not only for keyboard. I usually try to think of orchestral or choral "instrumentations" when playing Bach. A 4 voice fugue for me is supposed to sound like a string quartet or a choir with sopranos, altos, tenors and basses.
Bach IS music. He's whatever your heart yearns for. Just play what you feel, for goddssake. Music is the last frontier of freedom. It's the soul's expression. Express it. Without shame. Without apologies.Bach connected with infinity. He won't object to legato. Just enjoy him. Trust me.
Bach connected with infinity. He won't object to legato.
i.e., "He's dead, do as you please?"All kidding aside, there are many shades of legato (though I'm sure Mr. Disarray does not speak of a quasi-Debussy "glued finger" touch) and the ear will tell us what is the right tone color for each individual piece of Bach's.
The music speaks for itself.
Hi Marik,MARIK, attempts to show people up like this, and critisize through implication, are not going to help the greater musical good, you would agree?This may well be a semi-anonymous piano forum, but I request your written apology.Peter
I agree, but only partially. Bach didn't write the same way for keyboard as he did for a chorus or an instrumental ensemble.
An interesting tidbit, did you know that in Bach's time, he was often criticized by his contemporaries for writing vocal music as if it were keyboard music?Walter Ramsey
That's why they can work (usually) when transcribed for almost any instrument or combination of instruments.
I think your teacher is right and gives you excellent suggestion.Re: legato vs. detached.There should be very a clear distinction between formal physical legato and mental one, which in a broader understanding is a connection between ideas, rather than notes. It is possible formally connect notes, but they would sound completely disconnected. On the other hand, playing detached can be perfectly organaized and connected into ideas. A perfect example would be G. Gould. Some say he plays non legato, when in reality it is perfectly connected. It might be sounded paradoxal, but in this sense, non-legato is a highest incarnation of legato.Best, M
At the very least, your post (coupled with my experience at the instrument) has provided me with a new curiousity and "level" to listen for in Glenn Gould's pianism, as well as listening for more detail in others and in myself. So, thank you .
I am glad at least one person found my post helpful . Also listen to old masters, and esp. Josef Hoffmann. They knew secrets of perle, which is a very light staccato with illusion of perfect legato.Best, M
We should of course understand two different ways to approach his music, (...)
Topic: Playing Bach like Mozart 