Agogic accents

[cygnusdei]

Anyone have an example in which agogic accents are warranted?

Take a listen to this (Allemande from Bach Partita for solo flute, BWV 1013)

Maybe it's because of limitations of the instrument (or the performer), but the 'agogic accent' (?) on the first beat of every bar effectively destroys the music as I see it.

However, if there are situations in which these are appropriate, should pianists try to emulate them?

PS: It's also happening a lot in the Prelude of BWV 1007, although it's every other bar:

[slobone]

Well, it's actually a very complicated issue. If you want to know whether the use of agogic accents is a part of authentic period practice, then it depends on what composer, what type of music, etc. They were used throughout the 18th and 19th centuries, scholars think, but since there is no standard notation for them it's very hard to get a handle (or Handel) on it. Certainly they would be used very differently in Bach and Chopin.

On the keyboard, I can imagine using them in the C minor prelude from WTC I, for example, but probably not in every bar. I would say in general they would be used to relieve the monotony of what would otherwise be an endless series of 16th notes (as in the cello suite).

Searching online, I found a few references to them in Roger Norrington's book:

https://tinyurl.com/67fjop

Or you could check Grove's dictionary...

[rachfan]

A more modern example that comes to mind is Brahms' third Rhapsody (Op. 119, No. 4).  Brahms uses many explicit rinforzando accent markings, but given individual interpretations these can also take on agogic qualities as well.  It requires some decision making regarding to what degree to play them without damaging musicality, interrupting the flow, and having the those accents become too distracting to the listener.