Bach – Prelude & Fugue in Eb, WTC Book 2, no.7 (BWV 876) Eunice Norton, piano (1968)

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Bach – Prelude & Fugue in Eb, WTC Book 2, no.7 (BWV 876) Eunice Norton, piano (1968)

Nội dung video Bach – Prelude & Fugue in Eb, WTC Book 2, no.7 (BWV 876) Eunice Norton, piano (1968) 

Bach – WTC
Prelude and Fugue #7 in c minor (Bk 2), BWV 876

Eunice Norton, piano
Recorded in 1968.

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J.S. Bach – The Inexhaustible Musical Wellspring (14/21)

mood and consequently the tempo, which would not have happened had the symbolic meaning been taken into consideration. For example, the conception of Sir Donald Tovey and Harold Samuel of the f minor fugue, Book I, would have been different had they considered the descending chromatic line—symbolic of the crucifixion, Christ dying for mankind, and the number symbol 11 for the tones of the subject—10 + 1, representing “the trespass of the holy commandments plus sinning man,” and the motif-mood symbol of joy—eighth-note, sixteenth-note, sixteenth-note. These all add up to a most astounding combination: a striking expression of Bach’s entire religious philosophy projected through symbols that represent sharply contrasting moods in a gorgeous piece of music. Some other number symbols are 6 for the days of creation (the suites); 7 for the Creator, Holy Spirit, Grace of God; 3X7 for “Holy, Holy, Holy;” 3 for the Trinity; 14 for B.A.C.H. (in the numbered alphabet).

Musical Shapes

The music of a particular composer is a single person’s inner cognitions expressed in his unique manner—expressed in sound shapes and sound colors—as only he could do. We have been exploring Bach’s uniqueness in order to understand how to perform his music in a way that would be to Bach’s own satisfaction, or better perhaps to say in a way that best reveals the inherent value of his musical genius. We have considered some of the important factors that should determine our use of certain kinds of sounds and practices and our rejection of other kinds of sounds and practices. We must now begin to apply our skills to the definitions of the “shapes.” Only extreme attentiveness to detail will accomplish our end. In Tobias Matthay’s words, attentiveness to the “transition between silence and sound” (and, I add, between sound and silence) “all depends upon timing to the most minute instant.” Matthay again states, “Unless we firmly ingraft the habit of attention to the varying necessities of key-resistance, we shall remain but mechanical performers.”

Accent

Accent and durations combine to define the smaller shapes, which in turn combine with movement and color to define the unified, large structure. Accent is one of the most challenging assets we possess as musicians. Because accent sets the pulse in rhythmic motion, marks the varied lengths of shapes and propels their movement, skill in its use is obligatory. Too frequently, especially in Bach playing, one hears the metrical accents crudely beaten out with a determined regularity that completely obscures the refinements of Bach’s architectonics. The vulgar practice of accenting the first beat of every bar is a poor excuse for the artistic use of accents—which are, without being marked in the score, written into the music itself for the alert performer to perceive. Stress accents, essential to shaping a phrase, cumulative accents for highlighting (cont.)

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