Okay. Well, I am always feeling thoughtful about interpretation in general and, I think especially with music like JS Bach's, it is seemingly tricky; people seem to have this and that idea about how things "should" be done, and nobody agrees with each other. Lately I have been thinking in terms of orchestration with Bach but it's not like I know hard, cold facts... who does ?
Anyway, the thing is, much of what you described is in fact essential to any piece of music that we play on the piano, at least if we wish for it to be a cohesive overall performance. So, coherent flow with the piece, sections moving into one another nicely ... well, what kind of piece doesn't want this ? Of course there are perhaps some pieces in the world that ask for something different, or are written in a way that imply a different aural affect -- but, of course, that is not what we are dealing with here. I know that
you already know all of this, it just happens to be where I am a little stumped at this point in my life, in some regards.
One of the main things that people seem to enjoy discussing with regard to Bach is phrasing, or at least note-groupings. Also, I have recently talked with somebody about the idea of a steady tempo vs. a strict tempo and I find it quite interesting. Of course, I don't know that I know the differences at the time, but I would like to learn more about it in general.
What I feel challenged with right now, in terms of interpretation, is in finding those things which are somehow "constant" and unwaivering, or at least somewhat stable, as a means to base my ideas on. As I mentioned above, in most pieces of music, we want the elements of our performance to be as you have described above about Ms. Hewitt's. Right now I wonder what makes something "right" ? For some of those answers, I am turning more and more to things that I believe are relatively constant.
For example, harmony and the overtone series seem to be somewhat constant. They are a system anyway to base our musical progressions on. And, there is something of a science or "reasoning" involved within it. I need to do more studying on it all but, I do know that different notes will share some of the same overtones and this will be a reason that certain combinations of notes will make a "chord" sound good. As well, there are logical modulations based on the overtone series. I think all of this is very tied into phrasing in a way that would stay somewhat constant no matter what instrument is being used to phrase the musical equation. I think note-grouping would also be tied into this. I also think that the use of resonance would fall into this.
Also, I think that there is no way to get around the fact that the piano is relatively unique in that it reflects a range and certain characteristic of an entire orchestra/choir. To me, some kind of orchestral affects are always lurking in the shadows waiting to pounce. Certain instruments have certain ranges/characteristics of their own and may have some bearing on how something could be played reasonably. I think this is where knowing something about our instruments of the past is helpful. However, yes, we are dealing with a modern instrument.
Along those lines, the characteristics of the modern piano must be taken into account when building something like a phrase (whether the phrase is "Baroque" or from any other era). When shaping something like a descrescendo, for example, I believe it's reasonable (and perhaps necessary for the most musical affect) to take something like the piano's sound decay into mind.
I think for things like the overall flow and so on, most of that is tied to practice. If it's missing this, probably it just needs more practice. For details in phrasing, I am currently of the inclination to think along the lines of what I have said above. At least that is what makes the most sense to me at the moment.
Your recording already reflects the bigger picture for sure; it is very grand and very characteristic of an organ, and it's not just "organ-like" but it actually reflects those qualities of an organ that can make it unique to itself. I suppose that has to do with resonance (though it's probably also an attitude of sorts
) but also tempo. If we are speeding through something at light speed, the piano's ability to resonate in particular manners will not be exploited to its fullest (of course for some pieces that is just fine).
Anyway, these are my little sketches for the time.
I have never tried maple syrup on icecream, however, I have put it into yogurt before and love that... I bet it's great as you suggest. I will admit though, vanilla icecream with some kind of crazy chocolate on top (some friends of our's make some of the best chocolate topping I could ever imagine) is kind of difficult to beat.
Topic: Bach / Kempff Prelude BWV 29