Six Conversations with Pianist Eunice Norton on Bach’s WTC (1978)

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Six Conversations with Pianist Eunice Norton on Bach’s WTC (1978)

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J.S. Bach: The Well-tempered Clavier

“Six Conversations with pianist Eunice Norton”
(1978 Radio Broadcasts)

*

EUNICE NORTON ON THE WTC
(excerpts from the 2002 release liner notes)

There are some laws that a performer must never violate: the laws of form and shape. Shape requires a multiplicity of forms. In music, every sound and every shape must lead further in meaning and mood. Nothing is so great a sign of truth and beauty in music as shape. Nothing adds more to a performance than a living imagination—a performer’s imagination must play a role in the recognition of and the successful use of shape.

Ruskin’s poetic statement describing the movement of clouds provides a good ideal for music: “…forms renewed and ceaseless invention—setting off grace with rigidity and relieving flexibility with force.” He believed that music should reflect the same amount of variety of light as the clouds in the sky. A performer must possess a lively imagination to achieve this end. At the same time, all must seem effortless, as though he has done nothing, that all has happened miraculously. (…)

Bach of all composers in my estimation is the consummate poet of musical varied sound shapes, which explore and communicate the essence of the infinitely wide range of human capacity for feeling. His musical expressions never violate these laws, and his innate recognition of this condition of music found its perfect expression in the language he helped to create for it. With Bach’s total knowledge of the construction of all the instruments of his time, he was in a position to offer useful suggestions for their improvement, especially the keyboard instruments. (…) If one is anticipating playing a number of these pieces, the imagination must play a significant role. If one is playing separate preludes and fugues, it may be impossible to imagine the pure genius in the final result achieved by Bach in the entirety of this work. The continuity of all 48 preludes and fugues produces a triumphant finality.

Early in my acquaintance with the 48 preludes and fugues I began to realize that the religious symbolism used by Bach in his choral works was also present in this great keyboard work. He used a multitude of age-old symbols to express the many mysteries he so devoutly believed in and loved. Acceptance of this condition is absolutely crucial in order to understand this important work. Because there has been for years a violent rejection by many musicians of this fact, an important contributing factor to the elucidation of this great work’s meaning has been neglected. The use of symbolism is as old as man. Bach not only inherited the entire tradition of Christian symbolism, but he also (…) made ingenious use of dance. Occasionally this appears in the WTC, as well, and too often performers add ornaments of their own, which, among other resulting flaws, kill the original character of the dance.

As the work progresses from key to key, major and minor, each piece in the same tonality in both books becomes more complex within the context of a great architectural plan for the structure. There is unity to the character of each key, itself. This includes reference to the concept of prophecy, for it was doubtlessly Bach’s intention upon beginning the first book to create a second of similar content. Even though book II was completed 22 years after book I, Bach regarded it as the continuation and conclusion of one immense work. This is reiterated in the Steinberger Edition of Bach by the famous music scholar Dr. Hans Bischoff with his statement, “There can be no doubt that Bach intended the combined books of the Well-tempered Clavier to create an integral whole.”

(…) My plan for the [interleaved] order of the complete cycle is not intended to suggest a necessity of this discovery, but instead an alternate freedom within strict restriction of the rules that matter. It also helps to dispel any rote methodology from the experience of recreating this carefully crafted drama, while it suggests that the machinations of Bach’s use of symbolism and numerology may be appropriately utilized, as well. I have chosen to open the set with the prelude and fugue from book II to help in the recognition of the mystical duplicity of the plan and the added dimension that emerges as a result (the constant chronological progression of time is thus defeated by this ingenious invention). My choice for ending the work with the prelude and fugue from book I was meant as an indication of my respect for what I believe is Bach’s greatest fugue.

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