Two words: Glenn Gould. He played nearly everything by Bach staccato, for reasons of his own. Sometimes it works and sometimes it doesn't. However, there's a whole generation of pianists now who grew up being told that he was God when it came to Bach, so they imitate him as whenever possible.
The Bach inventions are amazing music, and should certainly be played by more pianists. I also find that if you want to develop a big octave technique, learn the 2 part inventions in double octaves And still play musically of course, and legato as possible. Very hard to do, but very useful, and much much much more musical than Czerny octaves.
Ill tell you some 'general rules' about how to play Bach:1) 8s are played like 'half stacato', so abit longer than normal stacato.2) if something goes up, play it abit crescendo3) if something goes down, play it abit dim.4) no pedalling5) hardly any legato.
These rules are too stiff. I'd modify this. As written, its just plain wrong.
You mean staccato?nyuk nyuk nyuk .......
Ill tell you some 'general rules' about how to play Bach:1) 8s are played like 'half stacato', so abit longer than normal stacato.2) if something goes up, play it abit crescendo3) if something goes down, play it abit dim.4) no pedalling5) hardly any legato.And watch your left hand. Baroque music (like bach) isnt played like Romantic (right hand has usually melody and thus louder). Melodies are in both hands.Good luck, gyzzzmo
I'd have to agree those are hardly general rules. We are not playing their old instruments so be it. We play Bach on the piano, well that's Bach on the piano, that's not Bach on his old harpsichord. I think that the rule if something goes up crescendo and inverse when it does down simply doesn't work that good musically and it's too romantic. If you want to play Bach in his style, it's not by trying to make a non-pedal and staccato sound on a piano, but by the structure of the pieces. There SOULD be, by all means, legato in Bach. Not to abuse, but it's VERY good to use it in some counterpoint. Finally, I wouldn't play the right and the left hand on the same volume. It's not a hands thing. It's a voice thing. You should ->often<- play the voice of the subject/theme or main melody out of the rest. You have to create a sort of stair in your voicing or it just doesn't make sense. It's allways a voice thing and you must make them work together, not against each other.
Hi everyone ! I'm have just began to work on Bach inventions. I'm working no.1 and no.4. I just watched some videos on youtube and I noticed than lots of pianists play these pieces staccato. There is no indication for that on the score. Why do most of them play like this ? Why not legato ? Should Bach be played always staccato ? Thanks in advance. Sorry for my english, I'm not a native speaker.
Legato and staccato is possible on a harpsichord (a good one), and there are many ways to articulate. I studied Bach on Haprsichord for a while, and discovered very quickly that you cannot apply the same style onto the piano. You have to use articulation to do everything, becasue you can't simply bring a voice through by volume alone.
Depends what you mean by volume. The piano allows for small adjustments in dynamics not possible on the harpsichord, which can be used to shape a phrase. That's really what all pianists do instinctively anyway. Together with articulation, that takes you a long way toward independence of voices.I guess if you want to sound more baroque-style on the piano, you should avoid large-scale changes in dynamics and tempo, like crescendos and accelerandos. Not to mention rubato, although as mentioned on another thread, there may be a place for agogic accent in the appropriate style.
I prefer Goldberg variations on harpsichord though.
Always funy these people.... 'ITS JUST PLAIN WRONG!!!'I think they'll work fine as general rules, if you dont agree with them, you better make a usefull reply instead of replying kid stuff.
Because i got these general rules for baroque/bach by a conservatory teacher. I applied them, did audition, and got praised for my Bach performance (didnt study there afterall btw). Also, if you're familiar with historical authenticity, you should know that especially baroque music is pretty bound to rules, in contrast with romantic music.With that 'kid-stuff' i ment that you're replying in a way especially kids seem to do: Being against alot, but dont give any decent argumentation.You may disagree, but try correcting in an adult way, with explanation if you know everything that right.gyzzzmo
Bit weird, if i listen Glen Gould's WTC recordings, he plays like everything stacato.Also about Gould. You might take him as your BIG example, but Gould's Bach translations are highly critisized by many people. Maybe you like him alot because you are american yourself(?). Another thing, if you listen to a recording, especially if its a recording from some of his concerts, the way you hear it isnt always the way you play it.
Canadian i gues, my fault :pMaybe we should start playing Chopin without pedal too, everything stacato. Just to pester those 'dogmatic cocks'.
Noticed the word 'general' in 'general rules'?
2) if something goes up, play it abit crescendo3) if something goes down, play it abit dim.
Liszt: all banging?