Bach – Prelude & Fugue in c#, WTC Book 1, no.4 (BWV 849) Eunice Norton, piano (1968)

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Bach – Prelude & Fugue in c#, WTC Book 1, no.4 (BWV 849) Eunice Norton, piano (1968)

Nội dung video Bach – Prelude & Fugue in c#, WTC Book 1, no.4 (BWV 849) Eunice Norton, piano (1968) 

Bach – WTC
Prelude and Fugue #4 in c# minor (Bk 1), BWV 849

Eunice Norton, piano
Recorded in 1968.

*

J.S. Bach – The Inexhaustible Musical Wellspring (7/21)

never mere surface engraving. And performers should have far less artistic license in interpreting them than is usually believed.

The ornaments present one of the dreariest pitfalls to the performer chiefly because of the emphasis on decoration in Baroque art, which they feel compelled to heed and carry out to the point of indulgence. Overdone, they destroy the simplicity and nobility of the music.

The editors of Bach have too often used a free hand in adding the products of the imaginations of numerous copyists of the original manuscripts. It was perfectly legitimate for each copyist, who was a musician, to use his own imagination and take pleasure in an original version of the ornaments. For example, I only hesitated for an instant when I confronted an editor’s advice to not attempt to play the ornaments in the final movement of the Partita in G Major as actually written. I suppose he felt this was too difficult to achieve. I saw this as a challenge to not presume that Bach was mistaken in his instruction. The affect this had on the piece largely contributed to my choice of tempo. I believe the piece acquires a depth and dimension because of the integration of the turns that Bach certainly had in mind.

A pupil once asked me, “Well, when can I do what I like?” My answer was, “Never and always!” You must always like what you do, but do what you have planned and learned as correct for that moment in the music. I might add, try to do what communicates the beauty Bach intended.

A performer may do well to seek the published rules for ornamentation as Bach taught them to his students. In addition, these three rules may help: 1.) ornaments begin on the beat — never before, 2.) they are conceived as running from the top downwards, and 3.) they never begin by repeating the note before. Exceptions to rules occur in order not to blur melodic lines and harmonic essentials

Impressionism

Let us see then, by our method of working from the music to the words, if the germs of Impressionism, more recently discovered in Baroque art, may be applied to Bach’s music.

“The transformation of substance into mere appearance and emphasis on the transitory in everything” (Webster) are germs of Impressionism and are definitely antithetical to Bach. Bach in every phrase reaches beyond the transitory to permanency—to immortality, eternity. With the fewest tones, he could create a ladder to eternity. (cont.)

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