Bach – Prelude & Fugue in eb, WTC Book 1, no.8 (BWV 853) Eunice Norton, piano (1968)

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Bach – Prelude & Fugue in eb, WTC Book 1, no.8 (BWV 853) Eunice Norton, piano (1968)

Nội dung video Bach – Prelude & Fugue in eb, WTC Book 1, no.8 (BWV 853) Eunice Norton, piano (1968) 

Bach – WTC
Prelude and Fugue #8 in eb minor (Bk 1), BWV 853

Eunice Norton, piano
Recorded in 1968.

*

J.S. Bach – The Inexhaustible Musical Wellspring (15/21)

delayed and dissonant chords, expressive accents that create interest through surprise, weightless and weighted accents, accents on silence and accents created by silence—here we have certainly much to work with!

[A fine example of striking rhythmical effect created by silence is the a minor fugue, Book I.]

Durations

Control of accent is dependent on control of durations and color, all of which, of course, are dependent for execution on control of the key. All are so closely interrelated as to make it difficult to discuss each in the most effective order. Durations should probably come next.

I like to begin with the development of a liquid legato. After all, once one has acquired a faultless legato it is possible to break it up any way desirable to communicate the music. Also, if we will be attentive to Bach’s love of cantabile our first interest should lie in the development of a perfect legato. Bach’s son wrote, ” Above all, lose no opportunity to hear artistic singing. In doing so, the keyboardist will learn to think in terms of song.” He advises singing instrumental melodies to reach an understanding of their correct performance. Where legato is desired, all gaps in the sound must be eliminated. Expert fingering is a prerequisite. With proper fingering, sometimes inconvenient fingering, the artist is in a position to produce an overlapping legato—overlapping the sound of one tone into the following tone.

[B-flat Major Prelude, Book II, first phrase.]

The ear must be alert, and patience in work does the rest. Matthay described a method of producing a legato he thought would satisfy Bach. In his book The Visible and Invisible in Pianoforte Playing, he wrote “duration inflections or fluctuations of legato and tenuto are mostly produced by the individually prompted holding of a note by the finger—that is, without the continuous weight-compelling element. A true cantabile is impossible without it and so is Bach playing.” The other method of producing legato described by Matthay, the continuously-resting-weight method, is probably useful only in slow places.

[f minor Prelude, Book I.]

In any case, certainly weight may never substitute for alive, sensitive fingertips, the pianist’s only contact with the keys. Matthay’s comment on this matter is “think the progression of the key itself.” [Illustrates key progression both ways.]

The first is not at all an unpleasant tone, yet the second is better because it is alive and really sings. Bach was evidently keenly aware of sensitivity to the (cont.)

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